download - Avantgarde-Metal.com

Weirdos and freaks,
scientists and philosophers,
libertines and mavericks of metal music!
Half a year ago avantgarde-metal.com
began to sprout its branches into the
internet. Originally it was meant to be a
little harbour for lovers of the metal
sounds beyond the streamlines. But very
soon it became obvious that we are not
the only ones bored by the clichés and
conventions of the metal scene.
Your interest in the weird sides of metal
is stunning. More than 45.000 visitors
show that the metal revolution has already
begun! And so avant-gardemetal.com
grew rapidly. In February
2007 we started with four people. Now
the crew consists of 16 enthusiastic writers
from all corners of the world. More
than two hundred articles have been
written to present you the most experimental
and innovative sounds metal can
provide.
So we thought that the time was ripe for
a big Christmas present for you – the
first print edition of avant-gardemetal.com.
On 124 pages you can find
all online interviews and reviews of the
most important avant-garde metal albums
of 2007. And you can find the results
of your voting for the best albums
of this year. Discover the hidden Treasures
&
Never stop the Freak Show…
Chrystof
23 rd December 2007
1
Index
Crew 2
About Avantgarde-Metal 4
Interviews
BETHLEHEM 5
DøDHEIMSGARD 12
ABIGOR 22
FLEURETY 31
KOROVAKILL 38
DOL AMMAD 44
ANGIZIA 51
MANES 60
SATANOCHIO 63
BERGRAVEN 67
KEKAL 69
THE AMENTA 74
IMPURE DOMAIN 78
[D]EKADEN[Z] 81
GIRE 84
ANSUR 88
UMBAH 92
BRACHIALILLUMINATOR 94
ABSTRUSE 98
Reviews
Retrospection 2007 102
Your Top Ten Albums 103
More new Releases 111
Hidden Treasures 118
Imprint 125

THE CREW
Chrystof Niederwieser
Tyrolean Alps
Admiral of the Editorship
Katja Honeywine
van de Barrel
Germany
PDF design and
MySpace Mistress
Studies Environmental Science
and Resource Management
-
writing for "The Grimoire of
Exalted Deeds"
Olivier Côté
Montreal, Canada
reviews, stories and interviews
studying Philosophy - writing
stories and essays
EROS - Live, learn and love -
that's all there really is.
Jobst (in real-life
realms known as
Nofar)
Tel Aviv, Israel
reviews, stories and interviews
author at its first novel peak
- writer and co-editor in the
Israeli reviews website "The
Blind Janitor"
2
Bernd Grünwald
Vienna, Austria
Webmaster and Designer
- design with Eclipse New
Media
- organizing concerts with
KV Kaltenbach
- music with Sternenstaub
aVoid
the southern Swedish
woods
reviews, stories and interviews
Bassist in Havok, Strange
Calm and Infernal Hellfire,
plus a few clandestine
projects - studying English
and Musicology
Jegger
Austria
interviews
Guitarplayer for Tristwood
and Bearcht – writing a
doctorate in German philology
Jonny Lignano
enfant terrible of reviews,
stories and interviews
Favorite guitar chord: e
Favorite letter: l
Favorite addition: c + l = d
currently developing a
dictionary of imperatives
that are no real imperatives
(i.e. Drehtüre)

James Slone
Lost Wages, Nevada -
now lives in Seattle,
Washington (USA)
reviews and stories
Freelance writer, film
blogger, radical activist,
performance artist, amateur
guitarist, lover of the
good things in life
Tentakel P.
Germany- Hamburg,
pearl of the north
reviews, stories and interviews
-Drummer of Todtgelichter
-Lover of literature
-Watcher of weird movies
-Player of retro-games
Suleiman Ali
Pakistan
reviews, stories and interviews
Planning Engineer by
Profession & family man
by calling - mastermind
of the weird musical experience
Burzukh
Ulv
In the middle of Croatia
reviews, stories and interviews
A thought: "Gold is to
give silence a form"
Favorite addition:
d + c = Lignano
The meaning of life is to:
.... create
3
Polygon
Bamberg (Franconia/Germany)
reviews and interviews
Sound-wizard of the German
Black Metal
collective Membaris –
currently returned from
an academic exchange in
Riga
revon
Hungary
reviews and interviews
Dives into: Origins of the
Avantgarde movement,
dadaist/surrealist movies,
literature, photography,
painting, astronomy
Trident
Southern Germany
Reviews
The mystery of life is not
a problem to be solved
but a reality to be experienced
MvH
born in Wiesbaden, Germany
– now living in
Virginia (USA)
reviews
Musician, Military History,
Astronomy, Photography,
Philosophy, Reading,
Writing
More information about us can be found in the “about” section of www.avantgarde-metal.com. If
you’d like to get in contact with a crew member you also can find our email addresses there. Your
messages are warmly welcome!

ABOUT AVANT-GARDE METAL
“Avant-garde” is the French term for “advance guard” or “vanguard”. It refers to
people who venture into the unknown. Sometimes they find the shining shores of
the future there, the visions and ideas of tomorrow. Sometimes they get lost in
the forests of insanity, in the whirls of chaos and confusion. But it’s always new
worlds that they discover. Sometimes the avant-garde of today will become the
mainstream of tomorrow. But most avant-garde will always remain absurd and
strange to the masses.
Avantgarde-metal.com is dedicated to the pioneers of metal, to those bands and
musicians who incorporate new and innovative elements into metal, who break
conventions, tear down walls, violate borders. They build new worlds. They surprise.
More than for any other term in metal, the characteristics of avant-garde metal
are hard to specify. What’s fresh, innovative, new, surprising? The answer to this
question lies in the eye of the beholder.
Some say avant-garde metal is the art of creating deep and strange atmospheres
by experimenting with new instruments and sounds, strange vocals, unconventional
song structures, rhythms and harmonies, unusual lyrics or uncommon artwork.
Others describe avant-garde metal as progressive, psychedelic, surrealistic,
phantasmagoric, expressionistic, dissonant or extravagant interpretations of
extreme metal. But what do such words really mean? We don’t care, because...
...DEFINITION IS THE DEATH OF INDIVIDUALITY!
Avantgarde-metal.com was created to provide a home for all those metal bands
that try out new things and create their own, individual paths. It was created for
everybody who is bored with the petrified spiderwebs of cliché, commerce and
convention.
Anyway, avant-garde metal is freestyle. We don’t want to judge whether a band
or an album is avant-garde or not. All artists who claim to be avant-garde will be
featured here. Some of them might seem like ordinary, conventional metal to
you. About some others you may think that they are not metal at all anymore,
that they are something completely different. We won’t participate in such controversies
about categorization. Decide for yourself if a band inspires you or not.
If you know any weird artists that aren’t featured on this site yet, don’t hesitate
and send us an e-mail! And if you are a musician and have produced some weird
music, then your CDs are always welcome here.
ENTER THE WEIRD SIDES OF METAL!
4

BETHLEHEM
Dictius Me Spectare
By Katja Honeywine van de Barrel
Bethlehem is not only the name of a city
where Jesus was born and the whole insanity
of Christianity came to life. It is also a hyper
creative bunch of young/old, partly good
looking musicians creating sounds that wanna
make you jump off the bridge or some skyscraper,
that make you wanna cut yourself
with a knife, that make you partly wanna
masturbate or even cook rotten eggs with
horse worms and mouldy bread.
Bethlehem always went their very own way.
In 1994 they released their debut album
called "Dark Metal”, which nowadays is a
synonym for a whole new sub-genre. Their
albums are considered to be idiosyncratic
masterpieces with weird and enigmatic lyrics.
Jürgen Bartsch,
creative head,
bassist, lyricist
and electronic
technician of
Bethlehem, a
band which has
accomplished
so much since
the formation
in 1991. Jürgen
Bartsch, a fantasticinterlocutor
who talks
as long and
much on the
phone as my
mother at the
hair dressers.
"Mein Weg" has already been released 3
years ago. What has happened in the
meantime? Will Bethlehem disciples ever
get new fodder?
Sure, in the meantime I am preparing another
long player together with "Herr Morbid
of Forgotten Tomb" which is planned getting
recorded at late summer 2008. The recordings
should be done at the Priory Recording
Studios in England, since I and Greg
of "Esoteric" are in contact since the early
90s; we ever wanted doing something together
and so will do soon. Later on, the
tracks will get their final mix + master in my
own mastering studio. It seems like "Kvarforth
of The Shining" & "Théry Jonathan of
Ataraxie" will be responsible for the vocals
then, specially Théry's vocals could be best
described as the original "Landfermann" kind
of style, coz they totally sound similar to
5
those ones. Pretty much extreme. Other musicians
surely will be "Olaf Eckhardt" for the
second guitars again and of course "Stevo"
on the drums. A very nice line-up we hopefully
also can play life a bit with.
In the last years I more cared bout my sideproject
called "Stahlmantel", I did different
demos for since I started with this shit back
in 1999. Stahlmantel is kinda electro thing,
ourselves do call it, Dark Industrial Elite Suicide
= D.I.E.S. This description of course is
totally bollocks like nearly all of em are
somehow, but anyway. Without stupid crap
like that no one is taking you so serious,
right? So give you guys some bone, hope you
gonna feel comfortable with.
In 2007 we finished the recordings for our
latest demo "Satan Snuff Machine". I again
wrote all the music for this, some dark, disturbing
and cold mixture of industrial elements
in combination with pure metal riffing.
A friend of mine from Seattle/USA, known as
"Nihilist" wrote
all lyrics this
time and was
responsible for
all vocals as
well. Pretty disturbing
black
metal vocals I
again have sent
thru some distortion
effects to
let it sound
more brutal and
cold. Nihilist btw
also is singing in
"In Memorium"
and "Abazagorath",
both
US bands. "Satan
Snuff Machine"
already was released in China as a
limited edition of 500 CDs and also will be in
Poland thru "Metalrulez Prod." with some new
layouts + two bonus tracks, this or next
month too.
I at the moment also am working on a vinyl
re-release of "Dictius Te Necare" for that
polish label, which will be done as a very
special edition of 66 copies with a T-Shirt and
some other crazy shit, and also as a normal
release limited to 500 copies or so. All songs
are re-mastered and do sound way more
brilliant now like on the original version.
Check out, personally I wont promote things
like that a lot, also wont with Stahlmantel.
Prolly check the Stahlmantel website or try at
MySpace.

The music on "Mein Weg" has been
pretty commercial compared to all your
other releases. Could that be a direction
for further Bethlehem albums?
I don’t think so. The "commercial" aspect
mainly is depending on the different musicians
who became part of those recordings.
My song writing still is the same one like in
the past, never changed anything special with
it. But the new guitarist does coz he is playing
another guitar style than e.g. Matton
once did and surely because of Meyer de
Voltaire who brought in something different
with his special way of singing. Another difference
compared to former albums was, that
with "Profane Fetmilch lenzt elf krank" I
started to produce Bethlehem releases by
myself coz more and more felt so uncomfortable
with those wannabe "producers" from
the past who basically had no fucken clue
how to let it all sound the right way. Still in
our re-room we always had a more powerful
sound like on any of those 90s albums; specially
Landfermann was such a pain in the ass
with his digital bullshit productions, never
ever will give those things
out of hand again.
Guess, a new Bethlehem
album will sound different
again, surely wont become
some "Mein Weg"
copy or so, more will become
something cold,
depressive & disturbing
thing again like on the
90s albums, but with a
more powerful sound
than in the past. I honestly
dunno yet, and
surely wont care bout this,
never before "arranged"
things too much, no album
ever was "planned",
all ideas behind always are coming pretty
spontaneous, since we wont do this for
money, we always do what we wanna. Without
any compromises.
The album before was a fascinating mixture
of metal music, weird sound collages
and a radio play. Can you tell us
more about "Schatten aus der Alexanderwelt"?
"Schatten aus der Alexander Welt" originally
was done for the "Filmstiftung NRW" and
planned as some short movie for the "Das
kleine Fernsehspiel" TV series. I wrote the
short story as well as the script. But coz of
different personal problems, I don’t wanna
mention here, it could not be realized like this
and therefore was used for Bethlehem some
months later.
6
How satisfied are you with the realisation
of this album, especially concerning
the narrators? Sometimes it is hard to
transfer own ideas into someone else
who is speaking them out, but with another
intention than you probably would
have spoken… Would you rather have
spoken yourself?
Basically I am not quite satisfied with the
result to be honest. This surely has many
reasons, since my health wasn’t at a good
state during the recording sessions; I somehow
wasn’t so concentrated as well as motivated
like I normally am if working in a studio.
Another reason surely was, that things
like a new record company, as well as finding
actors or narrators in general for that thing,
re-writing everything for a more musical concept,
the huge pressure caused by people like
e.g. Matton who shortly before studio again
decided to leave the band, totally disturbed
the whole process. We did not had a singer
and Meyer de Voltaire came in only two
weeks before entering the studio, so there
wasn’t time for practising etc. The complete
Chaos! And a complete new situation for me,
coz it was the first time
in my life that I had to
work as a director,
specially those professional
TV actors who
spoke the main parts
of this radio play were
used to work like this.
Beside, we also had
uninitiated persons
who also weren’t used
doing things like that
before.
So everything became
some strange experiment
which basically
wasn’t planned like
that before and although I also spoke one
character "Archangel Gabriel", I somehow
could not transport nor direct my personal
point of view into the whole radio play.
Therefore, the once very dark & disturbing
mood behind, was destroyed by myself and
artistically seen surely became some failure.
And surely Prophecy also wasn’t able to pay
money for once wanted speakers like e.g. the
German voice of Robert De Niro, as well as
others who probably would have brought in
some more professional touch in general.
Anyhow, I wont look back, the album was
done the best I could do at that period of
time. Specially with all those circumstances
working against me.

I know questions about lyrics and their
meaning are always stupid, especially
when it concerns such an enigmatic poet
like you. Still I think that the lyrics are
kind of the quintessence of Bethlehem.
So I'd like to talk a bit about it. Though I
am a native speaker in German I have to
admit: I don't understand the lyrics at all.
But somehow they have a very strong
effect. At first my brain looses its anchors
and begins to spin - it's all so
strange and distorted. And then your
words evoke very strong pictures in my
head. So one thing I'd like to know: Do
you try to consciously build a meaning in
your lyrics? Or are they more transporting
an irrational stream out of the sub
consciousness? Or do they have a special
meaning, but a very personal one that
just Jürgen Bartsch can understand?
Not really. All lyrics ever done not only should
have some exclusive meaning only for myself.
Since I am using a very metaphoric style,
everybody who is more interested in some
deeper themes than some stupid, metalcliché
oriented crap, surely will find him-
/herself back in those ones. Although every
lyric or poem is telling a pretty personal story
for me, I sometimes also experienced my
7
words more as some spiritual landscape,
some mood, feeling or atmosphere, telling
me some different story like the original
meaning did. Therefore, everybody who can
let these words come close to his/her mind,
also will find his/her own very personal
meaning behind em. This is wanted but varies
alot on the momentary mood of each human,
I personally sometimes found myself at
a wonderful place in a wonderful space but
also in some dark and horrible cave, known
as my sometimes own sick mind.
I remember well your description of the
Alexander world in an ABLAZE interview
long time ago. This has been years before
the release of "Schatten aus der
Alexanderwelt". Are you still there
sometimes? Or has it become a shadow
of your past?
Haven’t been there for a while but this wont
mean anything. Because the last time I visited
my sub consciousness before I started
writing about it was when I was a 7 year old
child. And there was a break for around 20
years then. So, I am sure that one day the
enormous door again will open for me. Cant
await it.
Could the Alexander World be described
as the dark part of your sub consciousness,
your resort out of the boredom of
the real world? Maybe a parallel world
where strong morphines like heroin are
the key for entrance?
I honestly don’t think so. Like I said, it first
happened when I was a child and be sure I
had no fucken knowledge of drugs during
that time. It surely has something in common
with my sub consciousness, or could also
have with my mental disease. When I was a
child I first started escaping from reality, coz
the real one did not offer me so many positive
things in general. Since I already have
red some very personal things bout my past
in the internet, spread by some jerk I should
know personally, I don’t wanna comment on
those things any longer, somehow wanna
keep my personal experiences from the past
exclusively for myself. Hope you do understand?
Fine.
In the mid 90's there was a picture
taken of you giving yourself a shot with
the needle. Did you consume drugs at
the time? What kind of drugs, did they
help to write the music and what is your
opinion on drugs today?

Drugs? I am not so sure yet Missy, but aren’t
some of em forbidden? Well, I still am a follower
of all Christian rules, only eat bread,
only drink water and have no sex.
What about the parts in the radio play
where the lobster is cooked? Is this a
personal memory of you? Would you
describe your father as cruel?
Yes its a very personal memory and I don’t
wanna comment on this too. Although I already
have done in the past. Shame on me.
Many of your lyrics deal with suicide.
Can it be a solution?
Totally! Still met many different people in my
life who somehow acted very wise by killing
themselves instead of go on torturing themselves
and their surroundings for further
years again. Surely this opinion isn’t wanted
so much, coz people say there "always" will
be some other "solution". I personally am
thinking that this might be right in some
cases but in others this surely might not work
and instead of suffering in pure pain for the
rest of your life, mentally or physically,
one better should have the
strength to kill oneself.
We also have received many, many
letters of folks who somehow found
back to life with our suicidal interpretation
of music and art and surely
this made us all real proud. But personally,
I never would see Bethlehem
as a "solution" but more as only one
aspect for a way out of one’s own
misery. Kinda help in suicidal questions,
not more. As kinda last resort
before killing thyself.
8
Because of these lyrics you also had
problems with the police. How often
have the police come to your house to
shake you down for "bad material of any
kind”? Have they ever found anything
they could buttonhole you for?
If I get it right, they "visited" me four times.
The first two times they mainly came to my
house for interviewing, all other times they
took nearly everything with em they could
find here, letters, mainly letters, flyer, tapes,
drawings, lyrics, CDs, LPs, all that. Nearly got
it all back except some records like a Mayhem
bootleg with the dead Dead on it, some
pics showing me naked, completely covered
in blood, some letters with stupid swastika
etc. bullshit drawn on em, some old VHS stuff
showing early black metal bands during their
live shows, or more personal ones. Also never
got back the "Sid Vicious" movie on VHS,
which damn was shown on TV as well. And
surely more stuff I cant remember yet.
In the end I was accused of doing some Terrorist-Network
which was based on the
worldwide fan-letters I received to that time,
as well as some of my lyrics which would
spread some "violent theories" in their opinion.
The result was that Bethlehem could no
longer play shows in the area we lived in, and
that Red Stream has to change an album title
+ the booklet photos. My lawyer said it would
be wise doing, otherwise they surely would
accuse me again and I surely would get some
nice sentence for this shit. The original accuse
was smashed at the court, fortunately
the judge was pretty "open-minded" and it
somehow was possible to explain the artistic
concept of Bethlehem and Heavy Metal in
general.

You have had many line up changes with
Bethlehem. Are you difficult to work
with?
I dunno. Am I folks? Personally I
wont think so, but this surely
depends on whether other musicians
ever were comfortable
working together with me. Coz
me, I sometimes wasn’t and
better decided to fire some people
coz of e.g. not coming to
rehearsals for months, or bringing
their personal problems into
the band, or acting like real
"rock-stars" like Landfermann
once did, or did not come to the
studio while recording a record,
or any other reason.
Some other members fired emselves
coz they e.g. were afraid
of the success, or wanted to dictate their own
silly musical point of view, or whatsoever.
Surely this caused many, many problems in
the past but since I know that I could work
with so many different people these days, I
never would care about again.
You’ve been with Redstream for quite a
long time, then signed with Prophecy
and went back to Redstream. Why the
change of label?
I honestly have no clue! Like I said, I wasn’t
so comfortable with myself in that period and
therefore picked up interests of other band
mates too damn quickly. Today I know it was
some very huge mistake doing, specially coz
I of course had to care bout everything again
by exclusively myself although once it was
said, that "others" would take more responsibility
too. But anyway, guess too many things
already were said bout the "partnership" of
Bethlehem and Prophecy. So I better wanna
close that book forever.
9
I realized your new haircut on your new
Website and I realized further the use of
third Reich symbols such as the Reich
eagle but without the swastika
symbol. Why are you
using fascistic metaphorical
language? Are you showing
sympathy with the National
Socialism or do you want to
provoke? And why the hair
cut?
Well, the "haircut" was done
coz I haven’t cut my hair for a
long time and they started to
more and more "break" at the
peaks. Other than that I was
bored by always cleaning my
flat which was covered with
those long, brown hairs everywhere.
Somehow it was like I
would have a bunch of hundreds
of dogs at home. This totally pissed me
off. So one day I took some machine and cut
em all off, which somehow was like paradise.
Meanwhile they still are growing and became
longer again although I am not so sure yet
whether I again wanna have em hanging
around my knees. This sux alot. I am a German
Patriot, no doubt. But being a Patriot not
directly means being a Fascist. Those "Fears"
exclusively are typical German fears dictated
by different foreign countries and their interests
keeping Germany controlled. All Germans
once in their lives, - mainly at school
where one has to study the "right" history
written by people who have won the II. World
War -, were brain-washed and were manipulated
to believe that every thought coming to
your mind, whether it’s the idea of the socalled
"III. Reich", or some symbols, or
maybe clothes, boots, music, art, whatsoever,
best can be described with something pretty
criminal. Exclusively done to start another
World War or to rot everybody who is not e.g.
"Arian" or whatever. The brainwash is working
really good, you also directly asked me
whether I would "sympathize" or "provoke",
which is soooooooo typical getting asked over
here. Specially over here. But also in nearly
all other European country coz people over
there also are brainwashed with those subjects.
Instead of feeling too guilty they are
forced hating us.
So basically whole Europe is manipulated by
e.g. the United States of America or Israel.
Be sure they are following their own interests
and surely wont give a damn, whether this
will become traumatic for a population or not.
Basically this totally is wanted. Whether I
sympathize with National Groups or not,
surely wont become a theme here. Using
"fascistic metaphorical language" definitely is
an interpretation or yourself and I also will

not comment on those things here. All I can
tell you is, that I am a proud German man
who really enjoy living in Germany which for
me personally is the best country
in the whole world, I have
great respect for my Godfathers
and Mothers and to no time
would deny my cultural and
also historical roots, whether
they were good or bad.
So if e.g. using symbols of my
own culture, I definitely wont
feel guilty doing and whether I
gonna follow some "political"
aspect with this or wont, well
this always depends on the
things I mentioned here before.
I by the way stripped off the
chains of mental slavery long
time ago, no longer feel guilty
of being German and therefore,
see myself as some strong,
self-assertive, individual, and
free member of the global
community.
Some years ago I did an interview
with you where you disliked the
internet and tried to avoid it as much as
possible. And now you are having your
Stahlmantel.com and MySpace Page going.
Was that the reason for the haircut?
You changed your opinion about the
internet completely?
What the heck? Hahahaha, great imagination!
Cutting off your hair because of the Internet?
Somehow cool idea, wow! No I haven’t
changed my mind bout the Internet, it surely
still is some control system for the dumb, but
one also can use it to spread the word around
a bit more. Ever used it for e.g. writing
emails around the world, which definitely is
more comfortable than doing the "writing
letters" stuff from the past which on the one
hand was expensive doing and on the other
got lost so many times. My "Stahlmantel"
website wont be visited by people who are
interested in Stahlmantel itself, it more is
used from a handful of guys, who gonna
meet there on the small "Bethlehem forum",
I once have opened there.
The Bethlehem MySpace profile at the moment
has around 13,000 clicks in a period of
four months, but basically this wont mean
anything. Never sold any records there, so
basically this network is done for really nothing.
The Stahlmantel profile was dead since
the very beginning. Those new and free "possibilities"
only are some other tool of the
momentary "Zeitgeist" which totally is impressed
by personal prostitution and global
10
entertainment of mainly useless crap. Sure, I
would be an idiot if not using this for my own
crap too, specially coz I pay for this and also
use it for the most important
thing in my life, being in a
closer connection with my girlfriend
who is living in Barcelona/Spain,
but it never was
the revelation for me in general.
Sorry to say.
Just recently you've told me
about your new job, similar
to Käthe Kruse and
Schildkröt, on creating fetish
dolls for dominatrix studios
etc. Can you send me
some pictures for agm.com
and tell me how you got the
idea of making such dolls?
Do you own Käthe Kruse
dolls?
No, I don’t and though I somewhere
heard this name before,
I honestly know nuthing bout
"Käthe Kruse dolls". Unfortunately
I cant send you photos
at the moment, coz my new creation of real
seize Fetish Dolls isn’t yet finished. I am sure
I will finish the new series till end of December,
so if you would agree, I could send new
photos to a later date? Thank you. Well, the
idea was born together with a Dominatrix
back in 2006, she wanted to open a special
studio where beside getting e.g. whipped or
humiliated, you also could buy some Fetish
Wear or Fetish Latex clothes, fitting you like a
second skin.
Since I am experimenting with those materials
for many years now, I thought it would be
some cool idea also doing some more artistic
kinda things which surely isn’t exclusively
done for Studios or Scenes, but also for people
who follow some morbid taste. So, since
the end of 2006 I experimented alot with this

idea but always failed coz of many, many
handicraft- and also copyright problems.
Meanwhile I progressed with my techniques
and therefore decided to step away from the
original idea and better open my own company
called "Body-Drop" which is specialized
on creating those special artworks for a wider
crowd as well. Like in music, I don’t wanna
limit my art to only some special scenes,
everybody who wants em, can buy em of
course. If you folks should be interested,
please contact me under
"info@stahlmantel.com".
In 1994 you've called your debut album
"Dark Metal". Now many years later a
whole scene has developed around this
term. It's even mentioned in online encyclopaedias
like Wikipedia as a special
subgenre of metal. What do you think
about that? Can "Dark metal" be seen as
an own metal genre? How would you
define?
Bethlehem = Dark Metal. Ever was, ever will
be. Of course it can be seen as an own genre
now, coz it is. Although in my opinion, some
bands did not get the original meaning behind
and just called it like that although playing
just e.g. usual black metal.
11
On the other hand bands like The Shining,
Silencer, Forgotten Tomb, Abyssic Hate and
many, many more somehow understood the
intension behind and since they call it "Suicidal
Dark Metal" which basically is the same
term, they all interpreted it in a very special,
unique and grateful manner. Which of course
honours us a damn lot, specially coz we are
the original creators of some new sub-genre,
followed by so many people these days?
So basically, beside some old German bands
like e.g. "Can" or "Kraftwerk", also "Bethlehem"
created something not known before
and therefore helped to progress a worldwide
musical genre. This is more than we ever
expected. Amen.

VICOTNIK
(DøDHEIMSGARD, VED BUENS ENDE)
An Odyssey Of Lost Teeth
By Olivier Côté
As I don’t really believe that I could actually
come up with an introduction as interesting
as the man I’m about to introduce to the
avant-garde hyper famous hall of music, I
had the idea to let his own friends speak out.
Vicotnik aka Viper aka Mr. Fixit aka Osama
Bin Askeladden aka 498 aka Vicon-Tiki has
been around for at least fifteen years, and
throughout his multiple projects and personalities,
he obviously carried a strong artistic
statement up every musical scene’s tiny asshole,
whatever impact that might has had.
Ved Buens Ende, DHG (Dødheimsgard), Endwarfment,
Aphrodisiac, and Den
Saakaldte represent some parts of his past
and present catharsis. Nevertheless, my only
true concern, during our written conversations,
was to give him an opportunity to
freely think through his own mindset. I can
therefore only hope that you’re all going to
enjoy the final transmissions. Directly from
outer space, please welcome Mr. Fantastic
Deceptionist, the great Indian psycho terrorist
Yusaf Parvez...
The man is uniquely intelligent. – Carl-
Michael Eide
Vicotnik, a remarkable friend and individual…
Always manages to surprise you either with
his ways or his creativity in music. Clever as
hell, devoted in everything he is doing…Definitely
one of the most interesting, in
every way, people I have ever met and an
honor for me being his friend! – Michael
Sykelig
Yusaf is a visionary in the true sense of the
word…He has a singular dedication to his
music, and an unflinching desire for it to be
the best it possible can be. When he plays
you a new riff, you can instantly recognize his
trademark sound and style, but despite how
familiar you are with that style, you will
never fail to be amazed by the new and unconventional
ways he contorts the strings to
fit his purpose. He is one of the few musicians
I believe has truly crafted a world of
their own and no one can touch it. – Andy
Aort Mcivor
Vicotnik is stubborn as fuck!!! – Apollyon
When I met Vicotnik in 1999 his arm had
been bandaged. I asked him what happened.
He replied that one day he suddenly thought
that his arm shouldn’t belong to him anymore.
12
So he tried to smash it. – Christof Niederwieser
Well, I’ve known this character for about
fifteen years now, and what can I tell you,
Yusaf has been a good friend, probably the
closest thing I have to a brother. He’s a very
reliant person, always there to back you up.
He’s most honest and doesn’t necessarily say
exactly what you wanna hear in a troubled
situation, but you get to hear what he means
is right. He’s a stubborn man and probably
the most enduring bastard I’ve ever known
ha ha! Think I haven’t seen him submitting to
anything without giving it all his best. He’s a
man with strong characteristics, and a will of
his own!!! He tends to become a bit unstable
in some situations (especially the alcoholicinfluenced
ones), he’s a bit moody, and you
don’t always know where he’s at or what he
is thinking. Anyway, I sincerely love him and
wish him only the best. – Bjørn Aldrahn
Dencker
Well hi there, Vicotnik! Congratulations
for your killer comeback within a sometimes
excessively much sterile metal
scene, Supervillain Outcast is for sure an
amazingly refreshing take on Black
Metal! You must be aware that truckloads
of people have been impatiently
waiting for DHG to give them a new blast,
because as we all recognize it, 666 International
had a huge impact on everyone
involved in appreciating Black
Metal’s historical evolution back in 1999.
It has been such a long time since your
last musical appearance as DHG, and I
would like it if you just tried to introduce
us to the realm of these seven years that
went by in between the release of 666
International and your actual state of
mind regarding music. Basically the
question burning on everyone’s lips is: in
retrospect, why in the hell did it take so
long to bring this new album to a life of
its own?
Hey man. Cheers for the praise. I was not
very happy when I read your first question

(laughs). If I ask you what you believe is the
most frequently asked question nowadays,
what do you say? You guessed it, this one.
Nevertheless, I will do my best to venture
down this road once again. I started planning
this album already when we were in the studio
recording 666 International. Some songs
in some form or another date to back then.
After touring in relation to 666 International,
I went to Spain to either finish writing the
new album or drink my self to death. I went
far south and rented myself a little house. As
I was sitting outside my door, drinking bottles
of wine with braids in my hair, the Spanish
kids ran by me pointing and laughing.
This appealed to my sense of cosiness, so I
put myself to the abuse everyday. I also
tracked down a place the locals referred to as
a really bad neighbourhood. So every night
around eleven or twelve, I filled up my pockets
with all the money I had and ventured up
and down the neighbourhood. It
soon became clear to me that these
criminals and robbers thought I was
CRAZY, and therefore did not touch
me. Other nights I ventured down
to bars where the macho men and
the bimbo women were courting
each others and I pretended to be
homosexual, grabbing the guys’
asses, and asked if they wanted to
spend some time with me. This did
not really sit well with the guests.
Funny enough, I was never asked
to leave and I never got kicked in
the ass, they probably thought I
would like it. One day, I was standing
in the shower and brushing my
teeth, and I could feel the teeth
bending backward. I stopped brushing
and tried yanking my teeth with my fingers.
It turned out every single one of them
was barely sticking in my gums. It was time
to go home. I had in fact been able to create
something of a blue-print for most of the
songs.
Well back home, I started gathering people to
get them involved, and for a long time it was
only me and Czral whom rehearsed. Members
came and went as we went along and in the
end we had our guys. In 2003 I believe, we
entered the studio to record our mess. Here
everything started going wrong, both technically
and with the line-up of the band. Half
the band suddenly left and left their work for
me. It was like having a birthday inside a
straight-jacket. Here started the real process
of finding a new vocalist, getting new lyrics,
making effects, editing, recording, mixing,
etc… Then I believe I took a pause while
working with , and I now and then
worked as a studio engineer. But I have more
or less worked with the album since we en-
13
tered the studio to now. It’s very time demanding
when you have to learn the things
you are going to do. The time spent though,
gave me the opportunity to get a new band
on its feet and rehearse simultaneously as I
was working in the studio with various things.
In the end, I’m very happy with all our efforts
and I’m very proud of the album.
Now that was a mind-trip! Back in 2003,
many fans were shocked by what appeared
to be some deeply depressing
news. Your all-time colleague and only
original line-up member, lyricist and vocalist
Aldrahn, suddenly left the building,
and so did computer mind Zweizz and
experimental drummer Czral. What went
wrong between yourself and these highquality,
really unique musicians, since
we all can appreciate how essential their
roles were in the shaping of 666 International?
I want to point out
that Zweizz was
never the computer
mind in DHG.
He did not make
the effects on 666
International; he
played the synth
and the piano. The
guy responsible for
the effects on 666
International is
Ginge from the
Electro act SUB-
GUD. Seeing
Aldrahn leave was
definitely the hardest
of the three. I
had felt for many years that I kinda made
music for me and for him. Aldrahn is still on
top of my list of friends and I am sure we will
do something in the future as well. He quit
because he was to become a father and could
not be so devoted to the band anymore.
Now, some years later, it’s been proven that
his exit was not really necessary. On the
other hand, I think that all of us guys that
have held each others hands for the last 15
years made a wise decision to let go. I believe
we all benefited from this, and as a result
of it we can become better artists and
performers. Czral had been my main cooperation
partner since the Ved Buens Ende
days, so the desire to break free from each
others and develop on our own was really
strong. Zweizz was more a result of a mutual
decision. He wanted to start making songs; I
did not want to compromise my life’s work for
something I probably wouldn’t like. So that
one was not very hard.

One has to remember as well that DHG had
not really been a band since we rehearsed for
Satanic Art.
666 international is mainly my musical catharsis.
I wanted to rid myself of every theme
I had made that I could remember and did so.
This is mainly an album that came out of the
close work between me and my producer at
the time, Bjørn Boge. Of course others contributed
as well, but as for the hard work,
sleeping, eating and shitting, that’s me and
Boge. Aldrahn contributed a lot in the sense
that he performed well and wrote the lyrics.
He is one of the best vocalists this scene ever
nurtured. Zweizz biggest contributions are
the piano interludes; all the synth and piano
in the songs were either arranged by me or
by the producer. 666 International is a constructed
idea. I am its father, but it has a life
of its own.
Alright man, thanks for clearing up this
issue. Would you then mind revealing to
us who are the new DHG band members,
in regards to personal anecdotes, to
their musical talents and to their particular
personalities? I would think that
you have chosen each one of them for
specific reasons; could you then please
expose at least some of these reasons?
The single greatest thing with these members
is that prior to joining
the band they
were like the biggest
fans. The
practical value of
having members
that love the band
is that it’s really
easy to pull in the
same direction. The
guys I have been
playing with in the
past are all great,
14
but they were very conscious about their own
careers. Picking the new guys was really easy
because of the fact that I’ve known most of
them for a great number of years prior to
them joining. When it comes to anecdotes, I
am not sure if it’s fair of me to put my members
in a predicament. We have seen each
others in about every fucked up situation you
can image. A year ago or so I and Kvohst
were trashing around the apartment, when
my heart suddenly acted up, and as I thought
I was dying, Kvohst was running around not
knowing how to handle it. He is a British guy,
so he didn’t even know the number to the
ambulance. I imagine how useless he felt,
running around with the phone in his hand,
while his band mate was getting less and less
conscious. The world really gets small in a
situation like that.
The members involved right now are Kvohst
on the vocals, Thrawn on the guitar, Clandestine
handling the bass, Darn playing drums,
Jormundgand taking care of the synth and of
course yours truly.
Well, how do you personally comprehend
your musical evolution within an important
metal sub-genre such as Black Metal,
which has now become kind of a trend in
many over-intellectualised indie magazines
and so-called experimental circles?
Do you think that you belong to any
scene at all, or in other words, are you
consciously contributing to the establishment
of one particular musical ideology?
Your first two albums were obviously
connected to old-school black
thrash metal, whereas with Satanic Art
and 666 International, everything became
much more blurred and abstract
when it comes to genre aesthetics. What
is now DHG’s artistic agenda?
Opinions in that sense are not very important
to me. Even Black Metal will die, but then
there will always be all the old albums, so the
spirit of Black Metal will never die. There will
always be good music around. What I do
hope though is that people know what they
are doing and why they are doing it, that
there is some sense of honesty to their craft.

I don’t get mad if some band from the underground
scene makes it real big. It’s basically
none of my business. I try to be conscience
about myself, I try to grow, improve
on all levels and basically lead a beneficial life
where pre-ordained dogmas or principals
have no value unless they are my own. The
same way it’s not really interesting either to
throw my wisdom upon the world, so to
speak. I think people will benefit more to
listen to their hearts than to listen to me.
I have chosen to have my contact with the
outside world through music. It’s not to prove
a point; it’s just putting my experience into a
kind of endless format. As to what I hope it
achieves? I hope it inspires people to create,
to be better people, to take better care of
themselves, to get more in touch with suppressed
areas of their emotional life, or
something completely different: basically,
what I hope to achieve is up to you…
Our artistic agenda will always change, like
human beings change. Even though we don’t
want to, we do. So since Satanic Art we have
become more blurred for the reason that we
have become more organic in a way. It’s not
just infantile fantasies or metrological report
of some kind. It’s a whole life inside our records.
Even the old albums are records of life,
in a simpler, more one-sided sense.
All my albums tell me something about myself.
I have faith, I think anyone would benefit
of having a belief system. It cannot be for
selfish reasons generated through fear, redemption,
hypocrisy, career, etc. Faith is not
about getting, it is about achieving. Faith has
to be the model for your personal ideal. I
cannot understand all the interest people put
into other people’s life, don’t they find themselves
interesting enough? For me, I do want
people to be close to my music if they feel it,
but I have no desire about them obsessing
about me.
I think there was a scene once that sort of
shared ideals, or to be more eloquent, a
scene where you shared a lack of ideals. I
mean come on, all of us were just kids, and
let’s face it: we weren’t much different from
any other teenagers growing up at the time,
except that we had somewhere to vent our
desires and our frustration. This argument is
thoroughly strengthened by the fact that if
you go take part in the Black Metal scene
here in Norway nowadays, you will quickly
see that it’s all about spending time together
and the shared interest in the music is what
draws the people together.
When it comes to me personally, I did not
start to listen to Black Metal and then got
interested in the occult. The passion was
already there. I have also grown up with
15
many different religious paths around me as I
have an Indian background. This is why Black
Metal put my butt in the seat as soon as we
were acquainted, because the flare for the
contents in Black Metal already resided inside
me.
Now let’s talk about DHG’s sick-to-thebone
homemade library. Aldrahn's lyrics
and performances on 666 International
were basically all over the place and
quite out-there, so to speak, absorbing
elements from mythological narratives
as well as taking kind of a post-modern
twist on absurdist poetry - in one word,
it was downright unique. What about
Kvohst's writing and singing, and how
would you say that they are directly connected
to the music found on Supervillain
Outcast?
I think Kvohst writes a lot better technically
and in a much clearer narrative. It’s easier to
write in an absurd fashion, because you are
not really revealing anything. "Gobbling
numbers to safety, aerobatic stance unblurred.
Focus rendering motion, tears cracking
strong hostile limbs." I am basically talking
about eating breakfast and training, who
would ever think that? It’s easy to hide the
fact that you don’t have much on your mind if
you write in a way that in the end is 100 %
up to the interpreter. I am not saying Aldrahn
has nothing on his mind, but artistically
Kvohst’s lyrics suit me a lot better. Because
it’s not about shying away, and at the same
time they are kind of written from the viewing
point of the observer. I think it becomes a
bit bogus when your genius is dependent
upon other people’s interpretations. I feel our
lyrics now have the edge they previously
missed.

His performance on the album
was kind of a three way effort,
Aldrahn’s obviously, but also
our producer and my own. 666
International was not a rehearsed
album, it was a plan
and a vision I had, which I put
into commission with contributions
from friends and a whole
lot of work together with my
producer. I needed a kind of
catharsis, getting rid of all the
material I had collected over
the years. It’s kind of like a
crossover between music and
cabaret. So Aldrahn’s lyrics
worked like hand in glove. But
this time around, I wanted to
take a big step to the next level.
You were saying that with
Supervillain Outcast, you
had to learn everything
"technical" from scratch,
including programming, sampling, making
effects and so on. Listening to the
way you present Black Metal, I get the
feeling that you're a fan of many other
forms of music, like for instance techno,
noise or whatever. I also know that back
in '96, you took part in the dark ambient
noise band Aphrodisiac. Therefore I'm
curious to know if that's a kind of musical
output you'd like to explore once
again, now that you can more thoroughly
handle electronic devices.
I was a little bit learned on the making loops
and effects bit. Not much but a bit. On the
other hand I knew nothing about being an
engineer and there is really a hell lot to learn.
Yes, I do listen to a lot of different forms of
music. In my estimation you only have good
or bad music, I am not that genre-oriented.
Different genres emphasize different emotions.
What happens with me musically is
nothing I really plan. We just have to see
what I jump into. Right now there is a lot
going on though, and I think in relation to
doing my very best, I have to stay concentrated
on the tasks ahead. Aphrodisiac was
making insane music without rock-oriented
music instruments, and it was a great dive
into the sordid psyche.
In a previous answer, you mentioned
that your interest in the occult was already
there, even before you discovered
Black Metal as a musical form. Let's
guess that this interest has ever since
then very much expanded in space and
time. At the present, what do you mean
by "occultism" - is that some kind of a
life philosophy connected with any
known or unknown traditions in particu-
16
lar? And how is your definition
of occultism affiliated
together with your
musical impulses?
When I previously said occult,
I used it as a general label of
anything being related to
spiritual phenomenon. I was
brought up in a Muslim family,
and in this day and age
Muslims are probably the
group of people whom take
their faith the most seriously.
My upbringing was subjected
to all the Muslim traditions
and customs. I was even
supposed to marry my
cousin. For most people subjected
to this, it’s natural
just to adopt the belief system
of your father. But for a
small group of people this
upbringing creates quite a
strong consciousness from a really early age.
Not far into my existence I came on odd edge
with my family. Being on my own opened
even more doors in my mind. I think all the
situations that put you at risk in some way,
either physically or mentally, are the most
beneficial. Faith-systems are a God ideal
that’s theoretically you, if you fulfil your potentials
and live in order to reach your capacities.
Finding your own nature is a lifelong
dedication. In order to do so you have to
emancipate yourself from basically everything
you know and start redefining, using yourself
as the tool to do so. True religion does not
concern everybody else, true religion only
concerns the man or woman who subjects
him/herself to it.
I do regard myself as a Satanist; this means
that I support self-indulgence. I seek for personal
truth and freedom, simplicity and efficiency.
It’s merging your soul with life’s fabric.
It’s a system of representation. We create
our own damnations and rewards. When I
became an outcast, the world suddenly expanded.
I made two decisions concerning the
years ahead. Number 1 – Get acquainted
with the world’s vast portions of philosophy
and religion. That’s the best way to understand
our history as well. In other words you
dive into all the world’s opinions and see
that’s basically what the fabric of the world is
– opinions. Number 2 – Was subjecting myself
to every kind of subjective experience I
could think of and later view them both objectively
and personally. All kinds of situations
were interesting, even the ones that did
not benefit me materialistically or in some
other form. The dirtier and darker the experience,
the happier I was. Processing information
in every thinkable angle and at the same

time living it; it’s kind of being an observer of
society. Not in a critical or naive way, but just
observe to become more knowledgeable and
powerful. Of course all this is very general,
but so is the question.
Part 2: A Dance Between Chaos And Order
You said somewhere else that the new
DHG album is already composed. I know
it's a bit early to start thinking about
that, but I would guess that throughout
all these years you've been giving shape
to at least a vision of DHG's future. Is
there something you've not been exploring
on Supervillain Outcast and would
like to try out next time? Not to speak
against Kvohst, as of course his vocal
performances are quite intense, fully
accomplished and perfectly wellexecuted,
but is there any chance to
bring Aldrahn back to your musical madness?
I know you guys are good friends,
so that's basically why I'm asking.
No, unless Kvohst quits there is no chance of
that happening. His style, range and ability
suit my ambition a lot more. Aldrahn has a
lot of heart, but also has a lot to learn technically.
I think he is content with what he possesses,
so it’s better that he does bands that
do not demand a clinical execution as well as
bringing along the heart into the equation.
Aldrahn has a great voice and he is by no
means finished with his career. I guess both
a Thorns album and a The Deathtrip album
are not ages away from being presented to
the public. I am also happy about the fact
that Kvohst is British; it gives a deeper exploration
of the English language. Now the lyrics
17
are as I want them, more accessible but
multi-stylistic. We can now thoroughly write
about certain themes, atmospheres, ideas,
etc. and keep a red thread from one lyric to
another, without being conceptual.
Most of DHG's fans know how long both
the mixing and the mastering of Supervillain
Outcast took in order to get completed.
In comparison, some bands only
spend perhaps one or two months mastering
a whole album. Would you mind
introducing us to what was so hard to
balance within your sound particles?
Was there something specific you had a
hellish time to drive into perfection?
What was the most challenging part of
the mixing/mastering process? Without
going into too many technical details, it
would be highly interesting to read
about the sound-picture you were aiming
for and finally had the pleasure to
achieve. I believe that Thrawn was helping
you out throughout the whole adventure,
is that right?
I don’t think everybody in this scene is an
artist. A lot of people just want to play carbon
copies of the bands they like. I am ok with
that, it’s not my point. My point is that if I
wanted to make a Celtic Frost sounding album,
I would know exactly how long every
aspect of the production would take, and
could therefore make a realistic time-line.
When your idea is something that lives in
your brain, and wants to manifest itself
physically for the first time, things like time
do not exist. A wise man once said that great
art is never finished, only abandoned. This is
very true. I did not want to abandon my mu-

sic before it fitted the profile I created for it.
In doing so I ensured that a lot of my personality
went from organ to plastic. DHG is
not only about recreating a mood, like battery
albums sound and look cool, lets do this.
DHG is about pushing boundaries, both personal
and musical.
I’m sure most of us all discovered with
great pleasure your stunning approach
to bass playing on < code >'s first album
Nouveau Gloaming, as at last it was possible
to feel and hear prominent and intricate
bass lines within a dreamy Black
Metal context. I understand that you
also are the producer of the band. So
how's the new album coming along;
what do we have to expect this time
around? And as the producer, will you
try to bring Simen's voice to new, unexplored
territories, as I feel that within
Dimmu Borgir's area of
sound, his singular potentialities
are somewhat
restricted to a
more epic-sounding style
of singing?
I would very much want to
take Simen’s talent in another
direction. His talent is
enormous, but his Borknagar
or Dimmu Borgir style
would not become < code >
that much I am afraid. I
would like to take Simen in
a much darker direction.
Glad you like the bass playing;
I think the album
turned out very well. The
new album is a bit delayed
due to other priorities. Me
and especially Simen are busy characters. I
produced the Nouveau Gloaming album, but
Andy had really put in the direction and the
context with his songwriting. Hopefully we
will be finished with the new < code > album
this summer. It’s not easy when both DHG
and Dimmu Borgir have had new releases
this year.
Please enlighten us regarding the new
band you've recently joined, I'm speaking
of Den Saakaldte. Is that only a sideproject
or a full-time band where your
contributions are of a great importance?
And after having played together with
Czral for such a long time, whose drumming
skills were quite impressive to say
the least, how does it compare with
Hellhammer's technical capacities? Any
preferences?
Hellhammer is the more technical drummer
and hard worker. Carl is a pure artist. It’s
18
never about his mind or limbs, it’s his heart.
Carl is one of the most talented people I
know. Not because he is the best, but because
he is so honest in his work. Den Saakaldte
is a friend’s project, what it will become
is yet to see. Right now, Den Saakaldte
means helping out a friend, but I am sure
that as the material surfaces, I will get really
dedicated to that specific expression. I have
contributed with a riff here and there. Michael
does not really need my help on making
songs to his vision so to speak. I am sure my
main contributions will reside outside the
sphere of instruments.
Since some of your musical output
comes out sounding rather psychedelic
and soul-bubbling so to speak, I would
be curious to know if there have been
any legal or illegal substances that
somehow had an impact on the way you
handle your music in
DHG, or on how you
perceive it as a composer.
There are a few
mind-expanding drugs
out there that share
some elemental qualities
with DHG's bursts
of emotional explorations;
what do you
personally think about
drugs when they are
absorbed in relation
with musical composition?
I leave that speculation
up to you. What do you
think? I have not made
any music under the influence
of drugs, but I do
think that what you put into your body also
comes out in expression. It’s already something
there that relates to the mind. If you
are a workout alcoholic, obviously that would
work better for you if you eat and sleep right,
but also if you ordain your mental discipline
in accordance to what you want to achieve.
That goes for every human being. If you are
a careless person, that will be apparent in
what you eat, when you sleep, what you talk
about, who your friends are, etc. Drugs are
not important in my life, exploration is. Nothing
is fixed in black and white, even though
we are thought to fit into that dualistic way of
thinking. Our world is made up on an antagonist\protagonist
relationship. The way we
have chosen to develop as a collective is just
a possibility. It is born out of an idea.
Even in our modern history things could have
looked very different right now. If Hitler
would have won two world wars (not very
realistic, but indulge me), our education sys-

tem would have been very different, as Darwinism
would fill up our schooldays. We
would teach more about differences than
similarities. Our cultural life would have been
dead. Sense of pride and honour would have
a different meaning. This isn’t any less fixed
than how we live today, but it illustrates a
general world work on other values in pursuit
of truth and happiness.
Back to drugs, I think anything you can conquer
benefits you, not necessarily in the eyes
of our state or your mother, but those two
institutions base their relationship to it on
concern (yes, I call motherhood an institution).
I think if one really is to see some things
worth, one has to base the right emotion or
deed to the right context. That’s why knowing
yourself is so important. I know a lot of people
think they have come to this next level
just by wishing so. But as soon as they are
struck by something really trivial by the outside,
like for example owing taxes, girlfriend
breaking up, etc., they tend to act programmed.
Defining self-worth from an outside
standing point. How would you react if
your girlfriend fucked some other guy?
Probably like most in your male demographic.
Why is that? Why is shifting blame and responsibility
suddenly such a welcome creed?
Why is it suddenly poor little helpless me,
and you dirty whore? I understand it on an
emotional level, and I have nothing against
people reacting in this manner. That’s a really
interesting point. Too many people have the
luxury and time to sit and define themselves
with words that practically rarely are tested.
To achieve this lifelong longing for experience
you cannot have the luxury of being comfortable
all the time. People rarely live up to
19
what they represent themselves to be when
their balls are against the wall.
There’s no wonder why we sit on pubs drinking
with our friends, while we define ourselves
as these big, great, important idealists.
Ha, what a laugh! From great strife rises the
Phoenix. I got a bit side-tracked. I could sum
up why drugs in 99 percent of all cases are
bad: because most people use them to escape,
not to form.
What happened to
Czral back in march
2005 must have been
such a shock, since he
had been your main
jamming drummer
and friend for all
these years prior to
his tragedian jump.
Then Ved Buens Ende
resurrected from the
tomb, but you guys
have lately once again
disbanded, since as I
understand it, Czral
wanted to mainly concentrate
on his riffing
style and therefore
refused to share the
composing content of
the band. Are you going to be linked, in
some way or another (for example in the
studio work) with the upcoming Virus
album? And what will come out of the
riffs you made while Ved Buens Ende
was still being alive; perhaps more
songs in the vein of All Is Not Self?
What happened to him is his business. What
happened to us is just as you say. Carl
wanted to make our project his project. Thus
I said: your thing is Virus, make that band
the best in the world. I understand that he
wants to do his own thing, and I wish him all
the luck in the task at hand. It would be
great to produce Virus, but I guess that after
15 years of band playing, communication has
become a bit unnatural. So I am unsure if it
really would benefit Virus. I will probably use
the Ved Buens Ende parts I made, that can
be taken in another direction, in DHG.
Let's now regress in time; we’re in ‘93-
‘94, when Black Metal's second wave
was arising, leading up to many new
unknown paths. Back at the time, you
were forming what is now considered to
be an all-time cult band, Ved Buens Ende,
together with Carl-Michael Eide and
Hugh Mingay. You guys were one of the
first to explore the more unconventional,
psychedelic and experimental side of
Black Metal. In retrospect, how do you

think Ved Buens Ende had or hadn't a
musical impact on the scene? Were you
a respected band back then? And from
your perspective, what do you think
happened to Ved Buens Ende in 1995-
1997? I'm sure many old fans have been
wondering about that.
I think it’s a bloody shame that Ved Buens
Ende never outlived its potential. If we made
an album today with the experience we have
gathered over the years, I am sure it would
be something special. It’s not all lost though,
as Carl-Michael has his Virus, which in many
ways is Ved Buens Ende’s younger cousin.
We were not a respected band back then, but
we were respected individuals within the
scene. I think Ved Buens Ende was way
ahead of its time, having our genre in mind.
The interest in the band today is awesome;
the few releases we put out are pure cult in
people minds. I remember critics from Germany
back in the heyday (around 1995) even
claimed that we could not handle our instruments,
that we were shitty musicians. Then
those very same magazines would hail bands
like Martyrium and Graveland. I have nothing
against these two bands, but they were never,
what should we say, really clinical when it
came to their instrumentation. That’s a nice
way of putting it I think.
Ved Buens Ende was a deeply misunderstood
band, because it was difficult to connect with.
You know, some bands are really an instant
satisfaction, whereas with Ved Buens Ende,
you have to explore the music, its craved of
you as a listener. What happened to us? Well,
20
the same thing that happens to a lot of bands,
namely EGO. Carl-Michael and I should have
given Hugh more power in the band, because
he would have managed to keep it together.
Another thing is that Ved Buens Ende was
neglected because our other projects took
most of our time. I do not think Ved Buens
Ende will resurface in the nearest future, but
never say never. Maybe we just need a couple
of more years to mature as individuals
before we can re-animate this joint venture.
Is it ironic for you to consider that the
only time you went out on tour was in
1999 with one of the most popular bands
from Norway, namely Dimmu Borgir, in
order to present such a fucking challenging
and unpopular album? You seem to
have been in touch with that particular
band from the very beginning, as you
were singing on their first album For All
Tid, and even had their guitarist Galder
on Satanic Art; is that a band you are
particularly fond of, music-wise? Now to
the ultimate question: both of you have
released a new album almost at the
same time this year, so why in the hell
didn't you go out on tour together once
again?
I think if we went on tour this time around, it
would actually be more successful. Dimmu
Borgir is not really my cup of tea. I think they
have great things going on here and there,
but they do not really nurture the feelings I
want to be in contact with when listening to
extreme music. I have tremendous respect
for their hard work and their fucking awesome
dedication. One of the, if not the hardest
working bands in this country. If you
don’t get inspired by their music is one thing,
but you really have to be blown away about
their dedication. I wish them the best of luck,
even though they seem not to need it at all.
Yes, I did some vocal work on their first album,
and a long scream on the second one I
believe. The reason for this is plain and simply
kinship. They are friends, and we have
really grown up in this scene together. Galder
played a little bit guitar for us back in 97,
before he was a part of Dimmu Borgir. At
that time his ambition resided in Old Man’s
Child, so the affair was brief. He is a fucking
great guitarist, both playing-wise and when it
comes to melody and arrangements. Gene
Hoglan once said he was the best guitarist he
ever worked with. That’s some testament of
your abilities. Maybe Dimmu Borgir and DHG
will do something in the future together, it’s a
difficult call. Practically it would not be much
of a problem, but I think our fan bases are
probably miles apart. All the best to them.

Earlier in our conversations, you were
touching the subject of observation, experience
and individual empowerment.
While reading another interview of yours,
I noticed how much you were
being critical towards capitalism
in general, especially regarding
the fixed state of
things, and how man, now
that he seriously believes
that everything is as it should
be, isn't able anymore to picture
himself up to another
level of reality. Having now in
mind Theodor Adorno and his
famous phrase - "the task of
art today is to bring chaos
into order" - I would guess
that Supervillain Outcast is not only a
path you've found leading to self-growth
and self-realization, but also, somehow,
your personal statement against the actual
forms of social order. Maybe I'm all
wrong here, but I just want you to comment
on the possible power of artistic
idealism and freedom, when it comes to
their impact on our system's economical
and human total decadence? Is that
something you are conscious about
when you start thinking about how DHG
is linked with the world
where its music is conceived?
In other
words: how does a supervillain
outcast relate
to the city that
first nurtured himself?
Those two things you
mentioned above are no
contradictions; they are
flip-sides of the coin. Yes,
I despise a lot of things,
but I am content over
everything’s brief moment
in history. So I am content
despising. It takes
one big change for the
whole world to be affected
by it. This in turn
will change what made the change in the first
place, and there you have the process all
over again. This is the pulse of the world; all
energy is an always constant thing. Yes, I am
the observer, not the meddler, I meddle with
people who are within my sphere here in life,
and they go inflicting their life on someone
else. The importance of self-growth is really
simple; without it, there is nothing. You yourself
have to value your ideals and your words
worth through practicing your disciplines under
conditions you don’t control to really understand
who you are. Reading books does
not cut it. That’s basically smooching off
somebody else’s valuable life earnings. Prac-
21
ticing while being unchallenged will most
probably mean that your mental projection of
yourself is manifested in what you would like
to be, not what you are.
Humans are funny; I
think if you would have
asked ten people to define
an intelligent person,
99 percent would build
up a character very
much like themselves.
People tend to call people
they agree with for
smart just based on
agreeing. I think it’s very
easy for humans to be
drawn to what they want
to represent themselves with, so they can get
and project their answers from their companionship.
You can really see the weakness in
the human race through their habits. This is
an element that shows how tired and lazy the
human being has really become. Always
striving for this outside validity, and confirming
themselves through their group, partner
and constructions. The dance between Chaos
and Order works as much on a cellular order
as on a galactic scale. We are very much part
of this dance, we can even momentarily disturb
the equilibrium of it. Holding
on to our false structures of truth
will only make the process of failing
more painful. The human race
is really part of something completely
different, but we tend to
put absolute truth into what we
ourselves have created, that’s why
we cannot let go, and probably
why the human race will mean
absolutely nothing in the end. DHG
is part of my practice; one could
transform all of my efforts in life
endeavour into relating to DHG on
a smaller scale. Success is a key
word, but you have to measure
success yourself, so you really
understand what it means.
I am not from a specific City; I
was born in Oslo, raised in Stockholm and
New Delhi area and have also lived in places
like Askim and Malaga. I feel love for cities,
but what I love is what I have experienced
there. The experience is mine, not the City’s.
For me as an idealist, I must craft myself to
just as comfortable in a castle as in a coffin.
Thanks a lot to Mr. Parvez for his precious
time. I hope that you all had a good time
reading through his mind. Maybe to be continued...

ABIGOR
Inside The Fractal Lab
By Tentakel P. & Chrystof
There are many people out there who have
hoped for a resurrection of the beast ABIGOR,
and it seems Satan has answered their
prayers and unleashed it upon the earth once
again. Six years after "Satanized" ABIGOR
have released a truly satanic masterpiece
named "Fractal Possession", and with that
they should finally manage to claim a place in
the Black-Metal pantheon. ABIGOR have been
a force to reckon with in BM since a long time.
Yet "Fractal Possession" is - while still maintaining
the coldness, brutality and the spirit
of BM - experimental and innovative to a
point where it even leaves most avant-garde
metal acts behind.
This trip into cosmic insanity can hardly be
compared with anything else, not even their
previous releases – Reason enough to shed
some light on the creative people behind it.
PK and the freshly returned TT share
thoughts with Chrystof and Tentakel P. about
the mechanism behind ABIGOR, Black Metal,
MP3's and our satanic pope
.
Ch: Peter and Thomas, you’ve
been out of the metal scene for
quite some years. Now you’re
back with one of your best albums
ever. What has changed
most in the music scene since
your departure? Has it become
easier or harder for you to
spread your works?
PK: Hard to say, I never really cared
about "what changed”, but each coin
has two sides, so we definitely
benefit that it all grew up throughout the
years, on the other side it’s a shame that it
all watered down and the entire genre (Black-
Metal) is based on false images and sell-rates
while leaving the important attitudes behind.
But also new bands rose, new labels, new
forms of distribution and promotion, so I
won’t paint it all black, I guess it still undergoes
it natural selection and with Fractal Possession
we opened new ways for ABIGOR,
some might dislike it, but Fractal Possession
is a new chapter in ABIGOR’s history, it reflects
ourselves, and the spirit of the time we
currently live in – cold, nihilistic, death-trap.
TT: Spreading our work is not the major concern
basically, but of course, one or another
thought at the time an album is (artistically)
done appears. If it is easy or not these days
– it's too early to give a well-founded analysis
about the present market and our position.
22
Remember, my departure was at the turning
of the millennium - things and technologies
changed and the net and MP3 may have a
negative influence and affect the quality for
the listener as well as the artists alike. With
people loading a hundred different tracks on
their player the whole thought of an album, a
self contained piece with a concept that includes
artwork and lyrics, slowly seem to
fade. Artists get reduced to "that great track
nr. 12 on my iPod”, and not to forget the
people's acceptance of shitty converted MP3s
gets bigger and bigger, most people don't
even get irritated when they hear this shitty
flanging low-bit rate MP3 sound in the background
somewhere. I could freak out every
time I hear it. So, I haven't released music
for 6 years and I don't know if all this has
already affected our field of music.
As for the Black Metal scene, where we obviously
spread most of our albums,
I just can say there's many serious artists
and bands out there that create mature extreme
satanic art, while in the 90s, when we
peaked in terms of sales and "popularity”,
Black Metal was in its teenage years. With
Fractal Possession we clearly defined our
position again, we don't belong to the "Lord
Supersilentultraevil” forest castle fantasy
type, and we don't belong to
the old bands that once sold
much and now just produce
uninspired Black Rock'n'Roll
either. End All Life/Norma
Evangelium Diaboli is the
perfect partner in crime, the
most respected label hence
our first choice to execute
and spread our works.
I would go that far to say
EAL/NED rise above the Metal
market with many or even
most of their releases and
can be viewed as label for
extreme satanic art without any boundaries
of the average (B)M scene, which sadly often
sticks to the Metal stereotypes that were
conceived in/for the 80s and 90s, and falls
into ridiculousness instead of really offering
something more (or at least be REALLY extreme).
TP: So what are your thoughts on the
future of (metal) music then? People
starting to buy or download only MP3's;
making CD's, LP's and such obsolete? Or
could there be a recollection to the "old”
ways- There is a vast number of reunions
these days, many bands from the
70's/ 80's returning to the stage with
varying success, even Led Zeppelin are
rumoured to reunite from what I have
heard. Could these bands manage to
infuse interest for the past into today’s
MP3-consuming youth? As you said, six

years are a long time- People listening to
metal nowadays might not even have
heard of ABIGOR before. Do you think
you could be one of those bands to ignite
interest for musical history in a new
generation?
PK: Now you download MP3s, back in the 80s
you got a tape, so there’s no real difference,
nor do I think, especially in (Black-)Metal,
bands, labels not distributions suffer from the
"illegal” downloads, if one likes the album/samples
the album will be bought. At
least none can foresee how it all turn out,
time will tell…
TT: The MP3 problem is not only one concerning
the "(music-)business” side, or not
only one how to handle a piece of art. It simply
affects how people perceive quality – and
I think soon they don't give a fuck. A well
converted MP3 played on a good stereo is not
what I'm talking about (as it sounds quiet ok
if you don't compare it), but today people
accept everything, as long as it's free. I hear
so many shitty converted flanging/phasing
MP3s around me everywhere, in people's cars,
in shops and cafes/restaurants etc, that I
sometimes ask myself if I'm the only person
with ears around.
The threshold of what people can take, of
what they're used to listen to in terms of
average quality gets lower and lower. You
know, back in the days as T. A. Edison presented
his early wax "turntable” (a roller of
wax where you could record e.g.. a voice and
then play it back, the precursor of the phonograph
and the turntable) to the public they
were all stunned "how realistic it sounds” –
you can imagine how crappy that sounded,
23
but it was state-of-the-art. What I want to
say is that people easily adapt to something,
not too long ahead on this way and we arrive
at the point where people accept shit and
think it's all good, where they lost the ability
to judge about quality.
But apart from the quality issue, especially in
Black Metal, music, layout, lyrics – everything
should be viewed as one piece of art, not just
the sound that's coming out of a studio in
whatsoever form, be it vinyl, CD, a file (originating
"from the connection in the wall”,
that's the horizon teenagers have these days.
They don't care and they're not as informed
as we were – when we liked certain albums
back then we knew the lyrics, could draw the
logo and knew every dot on the cover or who
was in the thanx list. Today it's about a track
in the MP3 playlist only, albums matter less
and less). An MP3 player can't capture, it
simply isn't, such a piece of art. People tear
individual tracks out of the album context to
an MP3 playlist and the music looses it's
meaning and also it's value. How much is
such an MP3 worth? Nothing. And therefore
people loose respect of the artist's work as
well. They forget that this sound file actually
has a history full of sweat and blood, and
quiet some people put in a lot of money before
the first cent comes back from sales, all
this seems like a long lost echo when I hear
people talk about their MP3s. People that talk
about their record collection have a different
access. You almost feel the value and history
of a respective recording when you have a
great album in your hands, but take a file on
your MP3player and you easily forget 1. why
you should pay for music and 2. what this
music has to say.

There are so many aspects why to strictly
fight the MP3 culture at any costs, economic,
artistic, sound-wise, etc. the perversity on
the other hand: people pay 700€ for several
old EAL releases, it's mad. Back to your question,
EAL/Noevdia definitely has the right
answer to this: high quality vinyl releases
where you know there's people that try to get
the best out of what they do, where the quality
of the releases, how they're executed,
command respect.
You are able to look back on a vast number
of releases so far, and obviously
your style has developed away from
what it has been in the early days to
what it is now. Now, imagine anyone
would have shown you Fractal Possession
at the time you released, let us say
Nachthymnen; telling you that this is
what you will sound
like in twelve years-
what would have been
you reaction? Have
you even expected or
planned to release
albums for so long?
TT: Without a shadow of
a doubt I always thought
to release albums for at
least a very
long/unlimited time in
the respective times, and
at the moment do so as
well of course – if you
aren't completely convinced
that what you do
at the moment is artistically
totally relevant for
your own spiritual health,
then better stop. That's
valid for Black Metal and
24
other spiritual/religious art forms, not what I
expect of every artist in the world – there's
many forms of and topics in art which are
only relevant (for the artist) for a certain time,
and that's not a bad thing, but when you
create Black Metal you should be militant and
uncompromising in your conviction as well as
execution, you should be able to capture a
glimpse of infinity and therefore also believe
(at least in that moment) that you will do
what you do forever, because it's so relevant
to you. The reaction if you played FP to us
back then would have been a kick of motivation
obviously. Back in the 90s we never tried
to reach absolute perfection – not out of laziness
but we simply couldn't imagine how,
with our old working method (technical
knowledge and skills included), in the old
recording studio and with the old label/budget.
Would you say that outer circumstances
slowed your progress, and if you had
better resources back then we would
have gotten something like, for example,
Fractal Possession much earlier from
you?
TT: You can't separate the circumstances on
one hand and our own view about how to
create albums on the other, but if we had a
studio and engineering skills and a label like
EAL in the last century then why not, something
like Fractal Possession in terms of musical
skills and sound could have been made
in the 90s. Also in terms of style, because as
I always point out, there are no new influences,
we have always listened to a broad
spectrum of music. Just on the lyrical side
and the concept, this is something that had
to be developed and sharpened through the
years that needs experience and time.

In the 90s we accepted other inputs and topics
as well, stuff that seemed "dark and evil”
to us and worth writing about while these
days we are much more focused. It is natural
that the religious/spiritual side (of the music)
is bound to grow with your experience and
personal development, while the technical
(playing and engineering) could advance
really quick, especially if you have help, if
someone shows you how to record and mix,
and if you rehearse a lot.
The sophistication of ABIGOR has progressed
enormously through the years.
Even though one could recognize unique
melodies and style in your first outputs,
Fractal Possession works with breaks,
rhythms, sound effects and song structures
which are worlds apart from what
was in the past; yet ABIGOR have- at
least to me- always been true to themselves.
How would you comment on that
development? Have there been any catalysts
at one point or did this evolution
came naturally?
PK: Seen from my point of view, TT turned
out to a real sound-freak, and he’s responsible
for so much that has been created/recorded,
ideas we simply weren’t able
to realize on the past recordings. Beside all
that we recorded at his Hell-Lab studios, so
working without pressure of time and money
makes it all much easier at least.
I guess the longer you play your instruments
the better you become, so there’s no hidden
story behind all that, it’s a natural development
that makes working more effective and
easier then in the past years, also that "not
being involved” with the scene caused a
change/difference in my opinion.
TT: Natural progression, totally, no moment
of artistic/technical enlightenment. We have
been deadlocked in the 90s because from the
very first album on we found a way (to write,
record and release albums) that worked
really well. I mean, until and incl. Channelling
The Quintessence Of Satan (I didn't participate
in Satanized) we progressed constantly,
true to our understanding of the musical conception
of Abigor which is bound to development/changes/progress,
but I couldn't imagine
a single fucking step further with 4trackcomposition/Napalm/Hörnix.
I think Channelling… is one of our best albums
(except for the vocals maybe which are
good but not that original – Thurisaz only had
a few days back then because Silenius left
right in the middle of the vocal-recording
session), but after Channelling… I was burnt
out. I couldn't imagine what to do next, and
this was utterly frustrating – another "symphonic”
album (like Supreme Immortal Art),
25
another raw genuine album (like Apokalypse),
another one including acoustic instruments
(like Orkblut), or another album with a constant
3rd guitar (like Channelling…)? In the
years without Abigor we developed our technical
skills, broadened our horizon and
opened up our minds to find new and sharper
ways and means to create art that truly worships
the devil, not just copycat Metal with
satanic imagery.
The break and development was absolutely
necessary and natural, not a point where we
suddenly threw everything overboard and
found the (un-)holy grail. Hard work on ourselves,
as characters and musicians, is the
reason why we do what we do now.
TP: This might be harder to grasp maybe
for someone who can only judge your
progression through the various releases,
but I think I understand. Nevertheless, I
remember Peter stating when ABIGOR
split up that he had material already
which was far to advanced for the ungrateful
BM-scene as it was back then.
And now you say development has been
progressed through the years between
Satanized and Fractal Possession…
Which leads me to the thought that
ABIGOR never really split up, more laid
on ice… Am I totally wrong to assume
Fractal Possession seethed beneath the
surface all the years, growing steady- or
have there really been years without

ABIGOR and Fractal Possession is a recent
outburst?
PK: No, ABIGOR was dead, not laid to ice! I
only used a few selected riffs from that "old”
material I wrote from 2003-2005 on Fractal
Possession. I wrote different riffs and songs
of course but not with the idea of the return
of ABIGOR in my back, that all just developed
after I met TT again, back in late 2005…
TT: As I said, Fractal Possession was more or
less composed and recorded in about 8
month, but also incorporated stuff that PK
wrote over a longer period of time. This
doesn't mean anything, we could have also
used new material exclusively, but these riffs
and lyrics were great so why not using them
– what I want to say is it doesn't matter if we
used some "older” riffs or not, at this stage
we do such an album in about 8 month,
that's the point. And, what's the difference at
all? If we needed 10 years or 2 weeks, what
the fuck does this change?
Ch: Concerning image and attitude
ABIGOR always have been Black Metal to
the core. You never wanted to be anything
else. Now many people see Fractal
Procession as one of the best Avantgarde
Metal releases of this year. Can
you live with such a definition or do you
still strictly prefer Black Metal? Or don’t
you care about such categories at all?
TT: We are Black Metal and nothing else,
definitely – music that operates within the or
at least uses many stylistics of Metal and has
satanic lyrics is Black Metal. Call certain BM
albums Avantgarde Metal, why not, the
avantgarde of Metal music can include Black
Metal, and if you look what's called avantgarde
in (post-) classical and Jazz then you're
perfectly right with your definition, it doesn't
seem cheesy or inappropriate at all.
Airbrush-images, sheet metal swords and a
few other relics of the teenage years away
and I view Black Metal as a whole in a larger
context – which is art in general. With objective
measurements, take a Dimmu (as example,
not to point out this band, there's thousands
alike!!!) album and you won't find
much music/lyric/artwork-wise that truly
matters, nothing relevant – funny stylish
pictures with millimeter-exact makeup (that
has nothing to do with corpse paint) and embarrassing
clothes, cheesy visual artwork and
cheesy music.
It may be executed in a next to perfect way,
it may be the best Metal album of the century,
but as a piece of (satanic) art it's worthless.
It isn't even conceived to be something else
than a Metal album, I doubt those people
worship the devil and try to do something
26
uncompromising. Many Black Rock'n'Roll and
Fantasy Metal bands are just in it for the fun,
it's their hobby, or because they're professional
musicians, a "cool job” so to say. In
our case it's different. Let me point out I
don't talk about ridiculous art-school standards
(!!!), but when you hand out an album
to non-Metal people you get a good reaction.
Be sure, they will laugh out the average forest-Metal
cheese. But take a Deathspell
Omega album, take the latest works of
Katharsis, Diapsiquir, Blacklodge, Clandestine
Blaze etc – that's not funny or cheesy, that's
mature, uncompromising, extreme – not only
for Metal standards (Metal people can take a
huge portion of cheese) but to people beyond
this scene as well, got my point? Let's take a
stupid example to make my point completely
clear: Take (your) parents, imagine we're all
early teenagers. Show them a Cradle Of Filth
album, chances they take it serious in any
aspect are zero. Show them a DSO album
and if they understand what they have in
hands they will most likely be worried or anxious.
Serious mature Black Metal is just one
form of (satanic) art, but as such it MUST
reek of danger. Otherwise it becomes ridiculous
at a certain age. I named Dimmu and
Cradle as random example, but it's definitely
not better in the self-proclaimed true Black
Metal underground!
PK: ABIGOR is still Black-Metal, and always
will be! The problem is that people are less
open-mined and mainly need strict definition
how it all has to sound, while we don’t. The
essence of our music is Black-Metal, it’s
based on spiritual values, not on musical
limitations and images of "black-leathercorpse-painted
want to be like Satanists.”
TP: So, if ABIGOR's priority is to create
satanic art- could you imagine to record
something NOT metal under the name
ABIGOR? Even if you, PK, state that the
base of ABIGOR will always be BM,
wouldn't you be intrigued by the thought
to do some non-metal intermezzi?
PK: Personally I can’t imagine ABIGOR exist-

ing on a "non-Metal-based” form because it’s
the essential for me, a main part of ABIGOR.
TT: For me, the field of Black Metal leaves
enough space to experiment, we will emphasize
this with our coming releases even more
than we did in the 90s, where we also moved
through a wider range
of musical concepts
from album to album
– this tradition will
definitely be continued
and strengthened.
But Abigor has a certain
definition and a
reason why we do
what we do - it's not
just a tag, a name.
We want to achieve
something, realize
something. It would
have no sense to do a
Neue Musik or Electronic
album and call
it Abigor. From my
point of view after so many years of Black
Metal, and at the same time after so many
years of my interests in other musical styles I
think I have a long enough musical history
(as listener and musician) to be sure what
the musical frame for Abigor can be. If I
wouldn't be so widespread with my personal
listening taste then you could assume that
maybe some day new musical interests have
a direct influence on Abigor. But why should I
want to do an electronic Abigor album after
15 years of Abigor and more than 15 years of
listening to electronic music? Got my point?
PK is totally right when he says the base of
Abigor will always be Black Metal, I can fully
agree (and as different as our personal musical
preferences are, as close are our vision of
how Abigor has to be).
TP: Fractal Possession in its entirety is
very complex, there is much to discover
even after several listenings - How do
you arrange these songs, especially the
elements which can't be rehearsed?
Does a song appear as a whole in your
minds or does it grow?
PK: The main fact is that we don’t rehearse;
we even don’t have a rehearsal room. I compose
a lot of basical riffs/songstructures/ideas,
the rest is done in the studio.
There was some kind of pre-demoproduction
but there’ve been so much
changes and it all came to life during the
studio work…
TT: We never rehearse anyway, so we can do
whatever we want. No thought wasted on
live-practicability. So far the songs "grew”,
but for our next album we have a certain
27
concept where the pieces have to subordinate
in length, tempo and mood – unlike Fractal
Possession where each song is about as long
as the other and contains every element and
tempo. On the next album, every track has a
different musical purpose.
Ch: That sounds very enthralling. So
you’re aiming to write a kind of concept
album? Will it not just concern the music,
but maybe also the lyrics? Can you tell
us a bit more about it?
PK: I can’t, and if we work similar to "Fractal
Possession” it’s not possible, even I’ve different
songs and ideas finished/and still work on,
it’ll be different, that’s for sure…
TT: The concept has been developed for quite
some time now, but it's AR's mission to write
the actual lyrics now. We need to "synchronize”
lyrics and music for this album, they
won't be interchangeable track-to-track, and
all I can tell you so far is: angels and demons
vs. human soul. Ungracefully because cautiously
said now, as this topic will actually be
presented and
treated like it
never has been
before (in music,
outside a purely
theological background)
but if I tell
you too much
about my personal
approach to this it
wouldn't be a good
idea because AR
has the final say
about what it will
cover and what
not. How I or PK
or even AR would
describe it to you
now could be quite different from the final
shape as it's too early. But of course it will be
written to hopefully receive a glimpse of insight
to Satan's mysteries again, and it will
be based on a strict catholic background
(which incorporates more than enough anyway
if you follow the roots of Christianity,
where it comes from, what it adapted).
Ch: Once you described the cooperation
among you as "Data Exchange”. Both of
you used to write riffs and arrangements
alone. And then you met to make songs
out of your single works. Has it been like
this also for "Fractal Procession” or did
you sometimes compose together for it?
PK: It is data-exchange, but in my opinion
that makes our co-operation to something
really special, because none ever knows how
it all will sound when it’s finished. ABIGOR’s
songs undergo some kind of evolution, and

no, we never composed together for the album…
TT: Even more on FP than on the old albums,
you're totally right. In the 90s we didn't write
but at least rehearse the tracks together,
meaning that we met and
played guitar. Now we don't even do
this, we just exchange CDs. For me
it's the only possible way – you can
go right to your musical limits when
you don't have to play and remember
all of it, you can loop a sophisticated/complex
part and work as long
as you reach perfection, on as many
tracks as you want. That's a completely
new working method. In a
rehearsal room this would hardly be
possible.
More and more I like to see myself
as a composer, not as musician –
playing instruments is necessary but not
what I really like to do. If PK could look into
my mind, read my ideas and play my parts
then I would stop playing instruments. Yet
there's no such thing like a head-to-MIDI
converter that really works.
TP: What should one experience when
listening to ABIGOR? Have your intentions
to deliver a certain impact on the
listeners changed over the years?
PK: Expect nothing, the more intense is the
experience while listening to ABIGOR.
TT: The listener should get a certain rush of
emotions, like I also have when I listen to our
music. You can't be more specific than this,
because 1. music is 100% connected to the
composer, meaning it's utterly personal and 2.
the history and (personal as well as musical)
experience of the listener determines his/her
listening sensation to a certain degree. Yet
there are universal feelings, a collective sub
consciousness, and the obvious predictable
reaction to certain sounds, noises, harmonies,
dynamics – I mean, in a dissonant fast part
one wouldn't be relaxed and let the mind drift.
You can increase intensity and excitement,
that's what we consciously do of course. Of
course you can try to influence the listener,
but that's not the case with our music which
we write exclusively for ourselves at the moment
of it's creation. After the work is done
of course we think about the listener as well.
I value the support of our listeners (and I do
appreciate it a lot!), but I can't "waste” a
single thought during the composition.
If you intended to get a comment about the
"war against Christianity” with your question,
well, no comment, hehehe… By the way: the
pope just proclaimed in an interview that he
doesn't see the future of Christianity as a
28
"folk religion”/religion of the common man,
but a deterministic force that shapes Europe's
culture. Think about this, I like it – it would
shock the average Sunday-church-visitors to
the core if you tell them what the pope really
means with it. I think he, as an
intellectual theologian, scorns his
own followers, which is quiet a
satanic thought.
TP: No, I didn't intend to get
comments on Christians but
nevertheless an interesting
thought on the pope, hehe. If
people would start using their
heads they would maybe come
to the same conclusion as you.
It IS satanic to scorn someone
who doesn't want to think for
himself, being led by someone
instead of using his own given
freedom. And the pope would
do that by using his followers as instruments
in politics through his given
power. A satanic pope- I guess I like
that, too.
You have made a statement on "Nachthymnen”
which I believe to be a measure
to separate these people from your
music: "The music of ABIGOR is a
weapon and shall haunt all those who
try to discover something beautiful in
it!” Yet I see a contradiction in this
statement as I try to understand it. Obviously,
if someone only seeks beautiful
and happy music he/she would stay
away from ABIGOR, not labelling you as
"beautiful”. But, if anyone sees beauty in
your dark and hostile atmospheres,
wouldn't the weapon ABIGOR fail to
haunt this person for he/she gains exactly
the pleasure from these twisted
moods in your music you want to deny
him/her? So, how was that meant? Or
has this statement become obsolete
nowadays perhaps?
TT: People that pinned down the sound of
Abigor to the "beautiful” elements of Nachthymnen
were confused (to say the least) as
they bought Opus IV and Apokalypse - the
albums that were weapons that haunted the
Goths that only loved Nachthymnen (out of
all our works), you see what we meant.
Ch: Back in the year 1994 your debut
album "Verwuestung – Invoke the Dark
Age” has been the very first bestseller of
Napalm Records. Without Abigor probably
the fast growth of Napalm in their
early years wouldn’t have been possible.
You released around 10 albums on this
label and have been quite close friends
with labelboss Max for a long time. What
can you tell us about your relationship

with Napalm? Why did you decide to
leave them?
TT: Yes, I respected and liked Max a lot back
then. I was involved with Napalm as much as
it gets over that distance (Vienna – Eisenerz),
you surely remember those times. But Max
changed, and although I had a quite unsteady
and unreliable time and haven't been
the best business partner, he changed in a
way that's not acceptable in my opinion, on a
personal as well as artistic (a label deals with
art/music) level. It's a pity, those times back
then were a pleasure – recently I have seen
the With Us Or Against Us album at someone's
flat and read the statements and looked
at the booklet, a nostalgic moment, but
there's no looking back.
Max operates on another level
now, he does music business
and has nothing to do with
Black Metal or art, I mean Napalm
and EAL/NED are two
completely different worlds,
even the reason why each label
releases albums.
Finally we found a way to clear
up our problems to a degree
where both parties can live with
it and continue to work with
Napalm for our back catalogue.
My main concern is that we get
high quality vinyl releases of
our old albums.
PK: There’s no relationship
anymore, they’ve their "labelphilosophy”,
we’ve ours, our
ways separated, there’s no more to say about
it, nor are we allowed at the moment…
Ch: Thomas, you left Abigor in the end of
1999. In the meantime Peter has done
two more Abigor releases and worked on
several projects like Hellbound and St.
Lucifer. What have you done music wise
during these years?
TT: 2 more? In Memory was put together
when I still did Abigor (although I was gone
by the time it was released when I it remember
right) and the 7” includes a track from
Channelling on the B side, so I thought Satanized
is the main release that PK did with
other people.
I released nothing, I concentrated on audio
engineering, did some recordings but mainly
to learn all the new technology and equipment.
I didn't have the plan to release anything,
or even create something where I
could fully identify with it that would stand
for my heart and soul in public. I did some
29
electronic tracks, the best way to learn software
and mixdown, because 50+ audio-
&MIDI-tracks of all kinds of synthetic and
acoustic sounds teach you to do a proper
mixdown and use your hardware right.
Ch: TT, you have become a real expert in
audio engineering and also built up your
own studio. Can you tell us more about
it? What gear do you use? What kind of
bands / music have you produced there
so far?
TT: Studer 963 console, Neumann M149/AKG
C414/EV RE20 as the most often used mics,
mainly outboard gear to "create the sound”
(Focusrite Red 3 compressor, Universal Audio
6176 channel strip, Culture Vulture valve
processor, TLA EQ 2, several
all-analogue effects like
tapedelay, phaser, chorus,
filter etc) and about 200qm for
a relaxed working atmosphere
with one side of the rooms
having many windows on the
first floor of an old factory. A
dark cellar would sound appropriate
for Black Metal but really,
for full days of concentrated
engineering I prefer daylight
and enough space. Asmodeus
& Vobiscum recorded and/or
mixed there, I did several
"mastering” kind of works (although
I usually don't offer
mastering as I work with a
professional hi-end mastering
studio and a recording/
mixdown studio can never
offer what a 100% mastering
studio with specialized mastering engineers
can offer), and of course all kinds of "jobs”
like voices for adds, recording and mixdown
for all kinds of music, not Metal.
I didn't see it in connection with my artistic
work, the studio is open even for the most
stupid Schlagermusik, I make no difference. I
try to make the best out of the job, if that's
HipHop (which artistically I can't stand, a
style I utterly scorn) or Metal doesn't matter
to me – I just hear frequencies and see settings
on my gear, and improving the source
with my engineering work is my job, and if I
did (make something sound good) I succeeded,
I don't have to like the music at all.
Ch: Now after recording "Fractal Procession”
in your own studio, could you ever
imagine to record in the infamous Hoernix
Studio again? I mean you’ve recorded
plenty of albums there and also
brought lots of metal bands to this place.
Still Hoernix has never been a metal studio
at all…

TT: Hörnix was good and fast in recording
drums, but the engineer gave no input at all
– and we surely acted stupid as well, we
thought we know how it MUST be, we wanted
to say how the guitar mics are positioned,
how to EQ something etc although we had
not the slightest clue about audio engineering.
And, we destroyed the often ok recordings in
the mixdown altogether (band and engineer)
in the end. So, I can't blame the Hörnix guy
alone if something sounded bad – if we didn't
say a word and let him record and mix alone
the result would have been better maybe,
that's my view today – and I see the same in
my studio, young bands come and want
things so and so and not a millimeter different.
But a skilled engineer can show people why
and how it would be better NOT to do it completely
the band's way. The Hörnix guy at
least was guilty of letting us do what we want
and didn't show us how to get a better result.
Anyway, of course I have completely different
equipment and learned like mad to be a serious
engineer, so I can't imagine ANYTHING
else. There's no alternative anyway, I couldn't
book another studio because composition
and recording is one blurred process, I need
months "in the studio” for an album (to compose/improve
as well as record/mix)…
Ch: Back in the 1990ies you didn’t like
side projects at all. Now you are working
together with Zweizz for some songs and
also rumours about cooperation with
Mikael of Den Saakaldte are around. Can
you tell us more about it?
TT: I don't remember that we were against
collaborations at all in the 90s. Both contacts
were made by PK. PK always had side projects,
even in the demo period and later with
Heidenreich.
PK: ABIGOR / ZWEIZZ is no side-project at
all, Sven just sent use some weird electoronical
sounds(noise) we’ll use on the upcoming
ABIGOR/BLACKLODGE 7”/MCD.
Concerning DEN SAAKALDTE I’ll maybe do a
few riffs, or 1 song for an upcoming album,
it’s no project, just an experiment, as I already
did for BLACK-FLAME for example. So
at least, there’re no side-projects, experiments
and co-operation between old friends,
yes.
Ch: Okay, the interview is nearly finished.
Thanks a lot, TT and PK, for this splendid
view into the world of Abigor. Before we
close, could you please dedicate a few
words to your future? Did you already
start the work for the forthcoming album
that you’ve mentioned? Are you going to
30
shoot out new masterpieces as fast as
you did in the 1990ies? Any last words?
TT: Yes, the work for the next album already
started and we could imagine a multitude of
interesting ways how to achieve steady excitement
for us concerning the music of
Abigor, so the next few albums won't need
centuries to be written and released - but
how many albums this will be is not what I
can tell you at this stage. There's no doubt
about the lyrical/conceptual continuity which
is guaranteed as long as we care about spirituality,
as long as we worship the devil (this
means the lyrical and conceptual side of
Abigor can be continued for centuries no matter
what our personal musical state is). But
the music will end when there's nothing more
to say. If that's in 5 albums or in 50, who
could say… in humbleness I pray to be
granted inspiration.

FLEURETY
Far Away From Any Messianic Complex
By Olivier Côté
Well, well, here I am, interviewing one of the
most underrated and underground pioneering
metal bands, whom were always mostly
known by name and reputation but almost
never through their one-of-a-kind musical
quality. Listening to the actual everexpanding
avant-garde metal scene, one has
to admit to the fact that they actually had an
impact on its development as a genre. Soon
enough I got in touch with their band coach
singer, drummer, lyricist, synthesizer and
piano man Svein-Evil Hatlevik, a most honest,
laid-back and intelligent everyday journalist.
Along the way I was even given a chance to
hear a post-1998 recording of a new Fleurety
song, which is aptly called The Animal of the
City. I immediately sat down deep into my
sofa, plugged in my headphones and started
the song at a very high volume. What a
shock! Could this be Fleurety at all? It most
certainly is! However, once I got used to it,
this experience made me remember that ever
since I discovered this band, I’ve truly never
been able to predict what would be their next
disguises. For now, have a seat and discover
the unstable world of Fleurety.
Hey Svein-Egil! Let’s hope everything is
fine on your side of the European
ground; anyway, wherever you are, a
sunny and warm summer is always a
welcome treat, right. Well I would like to
take this opportunity to explore in details
such a delicate subject as Fleurety,
the now cult experimental band you and
31
Alexander Nordgaren both gave birth to.
Ever since the year 2000, just after the
release of Dept. of Apocalyptic Affairs,
an album that took everyone by surprise
with its refreshing twists of mind, absolutely
nothing seemed to happen in your
camp. The momentum slowly faded
away so to speak. Why was that?
Any hurt feelings about that last album?
No more inspirations? Of course we
probably all know how Hatlevik kept on
going with DHG and Zweizz, but Nordgaren
all of a sudden musically disappeared,
heading off to India and other
exotic parts of the world. Between 2000
and 2005, what were then your feelings
about Fleurety and its artistic accomplishments
thus far?
Well, first thing is that summer here in Oslo
is the rainiest ever since they started scientific
measurements of the amount of rain in
18-twenty-something. Anyway, I was a little
surprised to see that nothing happened with
Fleurety after the Department of Apocalyptic
Affairs album. I was still making songs that I
intended to be Fleurety songs, but nothing
really happened. So it took me a while to
understand that the band was in a hiatus.
In fact, both the songs of the Zweizz 7" Black
Necrotic Obfuscation
(Vendlus Records 2004)
were originally intended
from my side to be
Fleurety songs when I
started making them. I
programmed some beats
and some synth stuff, and
I did nothing more about
them, since I assumed
that Alex would add some
guitars. Then all of a sudden
three years had
passed, and there were
still no guitars, so I decided
to finish the songs
myself. Anyway, I was
very happy about the
Department of Apocalyptic
Affairs album, but lately
(last five years or something)
I've come to the
understanding that Alex
wasn't too happy with that album. So well, I
have no problem with that.
Now it's more like I continue one thread with
Zweizz, the electronic experimental one from
Department of Apocalyptic Affairs. But as I
see it Fleurety as it works these days is following
another thread that goes back to our
very first demo, and the years that followed,
with Min Tid Skal Komme. That kind of material,
that kind of mentality. That's OK with me

now, but I don't think I would have felt too
comfortable about this in, say, 2004. I was a
little embarrassed about the old Fleurety stuff
at that time, like Min Tid Skal Komme and A
Darker Shade of Evil, but in recent years I've
started enjoying that stuff. I can very well
put on Min Tid Skal Komme today and enjoy
it. (But not too often, mind you!!!) I wouldn't
have been able to do those five years ago.
You appear to be preparing a special
comeback with the release of a 7” on
Duplicate Records which will basically
only contain re-recordings of two older
tracks. I always thought that, as an artist,
going through material from the
vault was like admitting to some sort of
a lack of inspiration regarding your present-day
creativity. Was this an easier
way to get back on track after all these
years, in order to get a grasp of what
Fleurety once has been and therefore
should be nowadays?
Hm. We had to find another label to release
this 7", because of all the usual reasons.
Fleurety is cursed with label complications,
we've been since 1993, so well. We actually
made a deal with our very first record label
Aesthetic Death Records, who released our A
Darker Shade of Evil 7“, EP in 1994 and coreleased
Min Tid Skal Komme with Misanthropy
Records in 1995. This label is also
releasing the vinyl version of Min Tid Skal
Komme this autumn. We might be talking
November. This version will feature the A
Darker Shade of Evil EP and our very first
demo Black Snow that we released in 1993.
So let's see what happens and when it happens.
Anyway, when it comes to your question
about "going through material from the vault
was like admitting to some sort of a lack of
inspiration regarding your present-day creativity",
I agree. But I don't think that kind of
thinking applies to Fleurety. If we were an
active band, like Darkthrone or whatever, it
would be an entirely different situation. But
for a lot of years (1998-2005) we weren't
really an active band, so re-recording old
material is more like a way to get back on
track, some kind of way to reawaken the
dead. But as I said: Fleurety got lost, I guess
in some kind of fog of experimentation,
where the members of the band kinda lost
sight of each other.
So I think it is better to keep things clear,
and fuck all that experimental shit. I make
experimental music all day, so I don't really
need Fleurety to fulfil that function. We're
never going to sound like your usual metal
band anyway, no matter how hard we try. So
it's more important to keep the band alive, I
32
think, than being all visionary and shit. I
mean, it's cool to be visionary, but we need
to keep this band a social unit as well, that
brings people together. We've been doing this
as two people all these years, and we need to
keep doing this as at least two people.
Otherwise it wouldn't be Fleurety.
Let’s return for the last time ever to your
almost entirely unknown and unpublicized
last album, Dept. of Apocalyptic
Affairs. One could obviously argue that
this was a total commercial nightmarish
fiasco, as I do remember how impossible
it was to get my hands on it back to the
day of its official release. Now what was
Supernal Music’s initial reaction to the
musical compositions that you guys gave
them? And nine years after its conception,
are you sometimes still able to give
it a few spins?
Last time ever? That sounds kinda dramatic.
As far as I know, the guy who runs Supernal
Music really liked the album, but I assume
that kind of music is not so easy to sell. On
the other hand, I don't really suspect him of
having tried. The album has been out of print
for more than five years, and Supernal still
hasn't released that second edition that he's
been talking about for years. And in a way,
that's fine by me. The problem is that he
doesn't want anyone else to release it either,
which by my standards makes him a capitalist
pig.
Could you please present the line-ups
that you’re going to use for your upcoming
7”, and just say how you think that
they might have altered the way you
both compose together? Why did you
specifically choose these guys to play
with?
There are two different line-ups for the songs

from the 7": One consists of Runhild Gammelsæter
(Vocals), Alexander Nordgaren
(Guitars), Necrobutcher (Bass), Hellhammer
(Drums) and me as more or less a producer
or band coach. The song is a re-recording of
a song off our Black Snow demo. The reason
we chose to do this song with Runhild is that
she's the only woman I know who was really
around when the Norwegian black metal underground
existed and who would know how
to do that kind of vocals. I initially asked the
pretty well known Norwegian singer Maja
Ratkje, and she was about to say yes, but
she wanted money - she does these things
for a living, whereas Runhild works as a biochemistry
engineer, so she's pretty well off.
And she was really enthusiastic about this
project too.
And somehow I have this notion that black
metal should not be made by professionals. I
honestly don't think that black metal should
be someone's way to put bread on the table.
It might have worked in a non-capitalist society,
but then again I doubt black metal would
ever come into existence in a non-capitalist
society. Or to be more specific: I have yet to
hear a great black metal album made by
people who play black metal for a living. Except,
perhaps, Ordo Ad Chao by Mayhem. But
I'm not sure yet if that album is really soooo
great. Time will tell.
But as things turned out, I'm really glad we
ended up doing this with Runhild, because for
her it seemed like it was a journey through
the time gate back to 1993. I didn't have to
explain anything to her; she already knew
what we were looking for intuitively. I remember
I called her on the phone, asking if
she wanted to do some vocals for us, she
said: "Yeah, sure. I used to listen a lot to that
demo back in the days." It was that Stephen
O'Malley guy who made that tape for her.
Now he's some kind of rock star, and we're
still a well kept secret. Things really do
change in ten years.
33
Anyway, I'm digressing here: So then we met
a couple of times, discussing back and forth
to make sure that my intuition was correct:
That she knew how to do exactly what we
needed her to do. When it comes to Hellhammer
and Necro Butcher, they are old
buddies. They are Alex's buddies first and
foremost, since he used to play with them in
Mayhem, so that was more of the typical
"Guy comes back from some faraway place,
wants to meet up with his buddies and have
a jam".
The other side of the 7" has Petter of
Audiopain and Virus playing the bass and
Bjørge from bands such as Yurei and Rex
playing the drums. This song has a more
punk attitude I guess, so I think Fleurety is in
its most testosterous phase ever these days.
Considering where you guys come from,
I see Fleurety as at least one of the first
Norwegian black metal related bands to
have somewhat introduced a humoristic,
twisted colorful touch deep into the usually
black-and-white, down-to-earth
world of despair and suicidal teenage
aspirations that black metal came to be
associated with. I’m of course not saying
that Fleurety was a joke in itself, far
from that actually – but do you think
that, in a sense, a good laugh in your
case functioned as a first-hand antidote
to step out of the black metal rigid and
authoritarian structures?
Well, if there is something we learned from
the nineties, it was that it's no problem being
tongue in cheek and dead serious at the
same time. That's what the nineties were all
about, at least in Norwegian popular culture,
and I guess a lot of other places. If you see it
this way, Fleurety is a typical child of its time.
That said, we were dead serious all the time
way into 1995, and perhaps even longer. Hm,
it's hard to remember really. But we've never
had an expressed agenda of "bringing humor
into black metal". I mean, we don't suffer
from a messianic complex.
But sometime after 1994 all the makeup,
social intrigues and talking about hate and
darkness began sounding hollow. And it still
does. So in 1996 we were all about leaving
the sinking ship and make some other kind of
music. I'm really glad we never made any
black metal in the late nineties with Fleurety.
In my opinion there is only one good black
metal album from the late nineties, and that
is 666 International. I don't think we would
have made a black metal album with Fleurety
that would have been even half as good as
that.

You’ve collaborated before with both
Czral-Michael and Yusaf Parvez from
Virus and DHG fame, be it on a lyrical or
a musical level, and by my standards,
both Virus (VBE) and Fleurety do share
at least a few similarities in atmosphere.
What were your relations back in 1995
and were you guys all perceived as some
sort of pariahs by the overall "scene”?
You seem to be good friend with Czral-
Michael in particular; would it therefore
be possible that either you or he collaborate
with the other and vice versa in the
future? I’m obviously pointing my fingers
towards the next Virus album...
I remember very well the day when Yusaf
played the entire Those Who Caress The Pale
tape over the telephone. That was in 1994, I
think. That's one thing nobody would do
these days. There were close relations between
Fleurety and Ved Buens Ende back
then. At one point we discussed whether
Yusaf should join Fleurety as a permanent
guitarist. Ved Buens Ende had good relations
with all of the other bands around, with some
very few exceptions. We were less popular.
So I remember Yusaf in particular being
somewhat of a devil's advocate on our behalf.
Yusaf and Carl-Michael were also a part of
the Fleurety live line-up for a show in 1995 or
1996, can't really remember which year exactly.
When Tiziana who ran Misanthropy
Records came over to visit us in 1994, we
played the Those Who Caress The Pale tape
to her, which led to Ved Buens Ende releasing
Written In Waters on said record label.
These days, relations are less intimate, but
yes: I will play some minor role on the new
Virus album, participating with some lyrics
and possibly more stuff as well. Czral also
borrowed some photos I had lying around,
34
and they might be used in
the layout of the new album.
I assume you'd want
me to reveal more details
about the upcoming Virus
album, but I don't really
know much more.
Oh and now that we’re
exploring your cult past,
what did really happen
between you and Ulver
back in 1993-1994? I
remember reading in
their Vargnatt’s liner
notes how you Fleurety
were nothing. Quite
rude to say the least!
Now what was wrong
with the G-Man?
I don't think there is much to say about this.
If I were to explain this, I would get it all
wrong, because I don't remember the details
or what was the reason for anything. We've
been good friends for at least ten years now.
Fleurety, the band’s name, not only is
connected to the actual name of a demon,
but also concerns the psychedelic
substances he’s known to be giving a
form to. Would you dare claim that the
more psychedelic bands of Norwegian
black metal, at least in the nineties,
somehow came to experimentation
through the use of chemicals and other
sense-expanding substances?
I'll confine myself to talking about hallucinogens
here: I'm not really sure about how
much of this went on. I don't know too much
about other people's use of these kinds of
substances, though I know certain members
of DHG used to be very heavily into that. I
took some substances like this on various
occasions, but that wasn't until the very late
nineties, like around 1999.
You said somewhere else that Fleurety
will be taking a more stripped down approach
to music on your (for now only)
hypothetical next sonic adventure, going
as far as to claim that an upcoming lowfi
sounding full-length album wouldn’t
be out of place. What is so appealing
about that kind of minimalism? Do you
believe that you could regress to a onedimensional,
sordid black void world of
sounds, or are you once again taking the
piss at us? Jussi Lehtisalo from Krypt
Axeripper fame recently said that "regressive
is tomorrow’s progressive”. Is
that a musical philosophy you’d like to
explore further within Fleurety?

Dunno who Jussi Lehtisalo might be, but I've
never liked statements about how "X is the
new Y". Experimental is the new mundane.
Silent is the new loud. Nerd is the new black.
Bread is the new cookie. Old is the new new.
Obesity is the new plague. And so on. Fucking
trendspotters. Obviously, if you're interested
in exploring new ground, you'll know
that as soon as someone identifies whatever
it is you're doing as the "new cool thing", it's
time to move on to something else. Otherwise
you'll risk being run over by all the
clowns who have just jumped on the band
wagon. Not a pretty sight, I can assure you.
So well, as I was talking
about earlier: At the moment
Fleurety works in an entirely
different way than it did ten
years ago. These days
Fleurety is more or less a
time portal that opens once
every year when Alex comes
back from England or India or
Canada or Rumania or wherever
he might be working at
the time. That means we
have to work quickly. We
don't have any time to hesitate,
no time for discussions.
We would typically have one
day to record a song, that's it.
So if there's anything we
planned to do, that we didn't
get time to do, and that
would usually mean that you'll have to wait
another year until the time portal opens once
more. So how do you solve this? We make
the kind of music we know best: Simple
primitive black metal. It's a question of survival.
If we had insisted on being "experimental",
"avant-garde" or "sophisticated",
we'd be dead.
But I don't think we'll ever enter a "onedimensional,
sordid black void world of
sounds". I just put on our first recording of
new material since 1998, a song called The
Animal Of The City, and yes, it is in fact recorded
on a Tascam Portastudio, the same
type of equipment that we used for recording
our first demo way back in 1993. But it is in
fact also an electro-acoustic experiment with
old school recording equipment, rather than
just two thirty year old guys trying to be
teenagers again. So in some sense I'm contradicting
myself here. Or to be precise: I'm
demonstrating why this new Fleurety material
is not one-dimensional. Because what might
be correct along one axis, is not correct along
some other axis. Thus our music is at least
two-dimensional.
Oh yeah, I can clearly hear that this stuff
has got a multiple personality symptom
35
going on. You guys are now less messing
with tricky progressive riffing and more
playing with layers and layers of white
noise through what sounds like a static
but massive wall of guitars. You mentioned
Stephen O’Malley earlier on, and I
would like to know your opinion about
what he and his label mates are doing
with (black) metal in general. Is that the
genre’s future gateway?
Hm. As a person who used to study digital
signal processing at the university, I always
end up feeling somewhat uncomfortable
when people use the term "white
noise" about signals that aren't
white noise. White noise is energy
distributed evenly all over
the frequency spectrum, and is
quite possibly the least interesting
kind of noise there is. It
sounds very much like the sound
you get when you turn on your
TV without it being tuned in to
any specific channel. The noise
you'll hear on that song comes
from computer processing, from
sending the song through a portastudio
several times and some
of it is differences in signal phase
that turns into noise when it's
layered a certain number of
times. So that was today's lecture.
You'll not gonna hear me talking about who is
"the future of the genre", I don't like that
kind of speculations. But I know for sure that
bands that work hard get somewhere.
SunnO))) have been working hard, therefore
they've come somewhere. Fleurety, by contrast,
never really used to work that hard.
That is, we took our music very seriously, but
none of us really had any serious ambition of
becoming "rock stars". So we hardly ever
used to play live, we never toured, but we
seized the opportunity to get our music out to
people on CDs. And I guess that's as far as
our ambitions went.
My experience with SunnO))) is through their
live performances, which I think are very
good. They played here in Oslo a couple of
years ago, and I got the feeling that their
tour was a black mass on wheels. Most black
metal bands would die to do a concert as
powerful as that, but they're stuck with the
rock concert format, not being able to think
outside of the box. I have some records with
them too, but I never really came to the
point where I would listen to them more than
once or twice. But I like the way these people
make the music more physical, in the sense
that it appeals not only to the ears, but to
your gut as well. But I guess I'm more inter-

ested in this stuff because of their ideas than
because of their music. If I want to listen to
people who work frequencies with their music,
I tend to prefer more typical noise acts such
as Lasse Marhaug or Kevin Drumm.
And by the way, what is Alexander doing
around the globe? Is that a matter of a
job-related mission, or is the man only
very keen on exploring as many countries
as he possibly can?
These days he works in Rumania with some
computer game developing company. Other
places he's lived have been either education
or work.
Have you ever heard anything of his I
Left The Planet side-project that we’ve
all read about but unfortunately never
were able to listen to? Was it any good?
I think the I Left The Planet recording
came out quite successful.
They recorded three songs in 1997,
I think. But this recording has not
yet been released. It would be cool
if it were to be released some time.
I guess that interested labels ought
to get in touch with Alex about this.
He has a MySpace profile, and there
is a link to it from the Fleurety profile.
Being the prime lyricist in the
band must be a handful job to
go through. What are you
nowadays trying to say when
using the pen? Is there a field
of thought and of styles that
you fleuretilly feel at home
with? What’s on your mind,
man?
I don't write that many Fleurety lyrics these
days. I was really active ten years ago, but
now I make a living out of writing as a journalist.
Therefore I rarely sit down and write in
my spare time like I used to. The Fleurety
lyrics are to a great extent influenced by 20th
36
century writers such as Samuel Beckett, William
Burroughs, Franz Kafka and Virginia
Woolf. At that time (1992-1999) I was pretty
much fucked up mentally, and the last thing I
wanted was to write lyrics about how fucked
up I felt. But in fact that was more or less the
only thing I was able to write about. So in
some lyrics I go to great lengths trying to
make the lyrics be about absolutely nothing,
but more like an abstract painting made out
of words, and also play on the musical aspects
of each word. This may sound like a
very obvious thing to do if you're into literature
and poetry, but my impression is that
this way of working is not so usual if you
write song lyrics for a metal band.
But if I would try to visualize the Fleurety
lyrics, it would look like maybe the entrance
of the emergency room on a hospital, where
each new patient is the lyrics for one song.
The Fleurety lyrics I've written recently have
been put together by samples from things
I've written as a journalist. I take a phrase
here and a sentence there from articles I've
written in magazines or newspapers. And if
you put that together you get some kind of
distorted image of what's happening in the
world today.
Would you now say that after having
released the new 7” EP, Fleurety has
enough material to potentially start the
recordings for a new album?
Hahaha. No way.
Since we are driving this
interview for a webzine
primarily concerned with
avant-garde metal in general,
I’ve got to ask you one
thing: how do you feel
about the actual metal
scene? Is it diversified
enough to your own tastes
or is there still a whole lot
to do in order to reach its
full potential? What is
avant-garde and what is
not for both the composer
and the listener inside you?
The last couple of years I've
been listening more and more
to new metal acts. And
through MySpace I've had the
pleasure of having been in
contact with a good number of them as well.
I was surprised to hear the new Abigor album,
for instance. I really liked that. I've also been
checking out bands such as Joey Hopkins'
Midget Factory, Bergraven, Blackdrone Inc.,
Yurei, Execration, Vrolok, Organ: and lots
more that I can't remember right now.

I had this very interesting experience a couple
of years ago. I was sharing an apartment
with a couple of friends, and one guy moved,
so we needed a new guy to move in. So it
appeared that this new guy who'd just moved
in was playing in a band called Nidingr. So he
gave me a CD with his band and wanted me
to listen to it, and I thought "Oh no, this is
probably gonna suck". And that wouldn't be
the best way of starting living together. I
mean, I had a huge problem with taking the
guy who had previously been living in that
room seriously, since he liked all the wrong
Metallica and Megadeth albums. I was prepared
for the worst.
So those of you who know Nidingr very well
know that their album Sorrow Infinite And
Darkness rules soooo hard, and after hearing
that, I started to check out more black metal
bands and stuff from related genres. And I
was so surprised to find out that there was so
much cool shit around. You know, I gave up
on the entire metal thing around 2000. I'd
been losing interest ever since 1995, but in
around 2000 I just gave up finding decent
bands. At that time there was more or less
only crap coming out, or at least: All the
metal stuff I ever got to hear was crap. But
these days I'm checking out new metal bands
with a huge appetite, and I'm constantly surprised
that there's so much kickass stuff
around. After a while I also started a new
band with this new flatmate. He's better
known as Teloch, and our band is called
Umoral.
I've seen that you've been having this discussion
about "avant-garde metal" on your web
site, and my answer to what "avant-garde
metal" would be is that it is an aesthetic ideology.
You know, in most other disciplines
like painting or video art or installations and
whatever, it's usual to say that the avantgarde
is dead, in the sense that the wish to
break the rules and try to push boundaries
and all these things that are commonly associated
with avant-garde have become the de
facto norm. These days, if you want to break
the rules in the art world, you'll have to be
reactionary. Or you can just plainly suck. But
metal is much more conservative than that.
Metal must be one of the most conservative
fields of artistic practice in the world, second
only to punk rock (perhaps). So metal is a
field where it still makes sense to be avantgarde,
in the sense that your aesthetic ideology
is to make music that's more than just
average metal.
Very interesting remark there, I've just
started wondering what metal music
being always de facto avant-garde will
try to sound like when it will start to rebreak
the new rules, for example, as you
37
suggested, by seriously wishing hard to
be reactionary. Now isn't this what you
in Fleurey are doing nowadays? Well, I
guess time is running out, right... I'd like
to say thank you very much, Svein-Egil,
for taking your time to answer my questions.
I honestly wish you all the best
with Fleurety: you guys ought to become
the next rock stars! Now what are you
doing nowadays? Any upcoming releases
from your part that you’d like to share
with our avant-garde metal enthusiastic
crew?
I don't think Fleurety will ever become rock
stars. There will be cold winds of funeral frost
in Hell the day that happens. These days I
work and make music, sometimes getting
shitfaced on days off. Fleurety will be featured
on some strange compilation CD that
comes out next year with DIY black metal
recordings. We are working in getting our
debut album Min Tid Skal Komme reissued,
but it seems to take forever. After that we're
releasing that new 7” EP I was talking about
earlier, which features some re-recordings of
material from 1993/94, with a more updated
twist, I guess. We're also hoping to record
material for another 7” this winter. This will
be all new material, so this will be our first
proper recording of new material since 1998,
when we did the recordings for the Department
of Apocalyptic Affairs album.
Also: Thanks to anyone who ever reads this
far and to all the people holding that avantgarde
metal flag high.
Yeah, I guess that was a nice chat with a
pretty cool man, don't you think so? Now let's
all do Fleurety a favour and browse through
their back catalogue all at once and together
for a few days, hoping this is gonna send
inspiring and ass-kicking signals out to the
mysteriously slow-moving, Fleuretean miasmas
of cold and dark Norway.

KOROVAKILL
How To Transform Pressure Into Treasure
By Olivier Côté
Explorers of the mysterious and of the surnatural,
Austrian KorovaKill should be known
to you by now. Ever since 1994, they have
been disturbing the most underground of
undergrounds with their three mind-bending
albums, all of which never made it to commercial
proportions but nevertheless investigated
many new forms of metal expression.
Now that we can evaluate their historical
importance, it's quite easy to realize that
they were one of the few real avant-garde
artists whose passion and creativity always
have pushed further the great art of music.
Call them dreaming spacemen, neo-baroque
thrash orchestras, astro-oceanic divers from
unknown worlds and dimensions! I say whatever,
they're basically here to expand your
sensory systems. And that's what matters the
most, or isn't it? So for the last few months, I
had an ongoing conversation with mastermind
Christof Niederwieser, in order to clarify
what's going on with his daily projects. And
here it comes, for your own pleasure...
Cheers Christof, I hope you’re doing
pretty well nowadays. Ever since you
released your last Korovakill album,
namely WaterHells, approximately six
years have passed by, without any subsequent
information to be found regarding
the band. Therefore most of your
fans, including myself, are starting to
wonder if Korovakill is still alive and active
as a musical entity. There aren’t
many bands out there equally pushing
the boundaries of music like you’ve been
doing it since 1991, so I had to ask you:
what has personally kept you away from
composing and releasing new music
throughout all these years?
Thanks a lot, Olivier! Yes KorovaKill are still
active, though nothing new has been released
since WaterHells. There are many
38
reasons for this break, and it would go too
much into detail to name them all.
One important point is my emigration to Berlin
in 2002. This makes regular rehearsals
very difficult. Another one is the fact that
Moritz and Renaud have several other bands
and projects that are far more successful
than KorovaKill. So of course those activities
have priority. Especially Moritz is touring
permanently all around the world. And when
he's back in Austria he also needs his time to
regenerate and to be a private man.
Nevertheless I never stopped building music
in all those years. Many hours of new material
have been composed since WaterHells.
But it still will take a while before all these
fragments will be a complete entity that can
be released as an album. Actually we hope
that it can be finished in 2008.
Discovering WaterHells back in the day
was a delightful experience, mostly because
finding an experimental, boundless
metal band merging itself with real
watery musical themes and ambiances,
astrological imagery and a fishermen
narrative story is such a rare gem. Can
you still listen to this album for what it is,
or has it become only a musical step that
you have now surpassed as an artist?
And in retrospect, how do you understand
WaterHells particular textures and
colors, when you compare these with
your personal growth within the spheres
of experimental music?
I don't spend too many thoughts on our former
albums. And I wouldn't say that there is
a huge progression or "growing" between A
Kiss in the Charnel Fields, Echowelt, Dead
like an Angel and WaterHells. They all just try
to explore different worlds in different ways.
But I wouldn't put one over the other.
The only point where you can see a progression
is the quality of production. WaterHells
was the first album that we did with an excellent
producer. Markus Stock has conjured a
marvelous sound. So WaterHells definitely is
our most professional release so far. But I am
sure that all the other albums are on the
same level music-wise. They just were recorded
in bad studios with very small budgets.
In some ways WaterHells is our least experimental
album. There aren't tons of different
parts, rhythms, harmonies and languages like
on Charnel Fields. It's much more homogenous
and repetitive. The reason for this is the
very strong concept orientation. The great
Ocean cannot be acoustified with lots of
breaks and complicated metrics. It just has to
flow like the waves and tides. So the single
songs are very homogenous in themselves.
The variety just happens between the songs,
within the course of the album. It starts with

epetitive heavy mid-tempo songs, goes on
to soft acoustic and orchestral tunes and
ends with high speed, furious staccato hymns.
So the flow of this album starts with water
and ends with fire - WaterHells...
I also think that WaterHells
has been your least experimental
album, but only if
you compare it to your own
discography, because once
you start observing the
whole metal scene back in
2001, experimentation
wasn’t at its speak to say
the least. Is experimentation
something you would
like to rediscover and push
further next time?
You never can say what will
come out. It just happens. For
example with Echowelt we tried
very hard to make a very
catchy, commercial album.
When we had finished the
songwriting we thought that it
was much more simple and direct than A Kiss
in the Charnel Fields. And I still think so.
Actually, everyone else thinks that Echowelt
is by far our most experimental and innovative
album. No record company dared to release
it. The listeners decide what’s experimentation,
not the songwriter. So maybe we
should try to write a very experimental album
now. Then people will probably find it very
commercial and buy it...
In your listening case, and I know
you’ve been concerned with the question
of avant-gardism in metal lately (smile),
what defines the experimental, avantgarde
and furthering nature of metal? If
only listeners decide what experimentation
is, does it mean that the whole
avant-garde culture only is a biosocial
phenomenon that could be reduced to an
always-changing herd fashion?
It depends. On an individual level there are
thousands of musicians trying to create
something innovative. And there are thousands
of listeners perceiving it as experimental
or conventional due to their personal listening
experiences. If you sum up all these
activities you get the construct of a collective
level. Just take all the different bands featured
on www.avantgarde-metal.com. A few
of these bands may be perceived as avantgarde
by 90 or more percent of the readers.
And there are many bands where maybe just
20 or 30 percent of the readers think: "Wow,
this band really surprises me with their innovative
sound!” It’s very relative.
39
The more experimental bands you have listened
to, the fewer albums really are able to
surprise you.
Personally I never tried consciously to be
progressive or experimental. Songs come out
of the feelings, not of the brain. You can do
what you want, but you cannot
want what you want.
I always had a feeling that
within Korova’s earlier releases,
from A Kiss in the
Charnel Field’s more uncertain,
nervous approach to
Echowelt’s total blasting
force, you certainly had a flirt
or two with complete mental
confusion and pure musical
strangeness, while some sort
of a rebellious bizarre malaise
was carried on the whole
time with your uniquely troubled,
if not broken vocals. As
a performer and composer,
did it have any link with your
own personality back then,
whereas with WaterHells, a
certain peace of mind had been found,
thus the more relaxed, laid-back atmospheres?
Like I already said in earlier statements: the
songwriting is just an act of self-defense. So
of course it’s connected to our personality in
some way. Although I don’t think that there
is such a thing as personality – we have
countless and none. It’s not personality. I
would call it "decision” – decision to act in a
special way, to wear a certain mask, to
choose a certain shape, to let a certain spirit
flow through you for a period of time. That’s
all.
After Charnel Fields and Echowelt more extreme,
more bizarre, more dissonant and
eccentric would have been very boring. It
wouldn’t have added something new to our
sound anymore. So already with Dead like an
Angel we headed towards the opposite direction.
There are some mysterious ballads and
even pop-like songs and parts. Maybe it’s not
so obvious on that album, because the production
is pretty bad and hence doesn’t
sound commercial. And also WaterHells partly
went into this calm, relaxed direction. Here
it’s more obvious due to the excellent sound.
So most of all the reason for this changed
performance was the wish to explore further
terrains of expression yet undiscovered by
our former songs.
Self-defense, alright – but what is the
self defending itself against here? More
specifically: how is musical creation taking
shape in your case?

When the flood of inner pictures has reached
a certain amount of pressure there are two
ways: The destructive one where you get
totally overwhelmed by it or the creative one
where you canalize it into songs or writings.
Only the latter way is able to transform the
pressure into treasure.
Already in Dead like an Angel’s booklet,
there was a special mention about Katalypse
2025, an album you were supposedly
working on back in 1998. What was
that all about? There seemed to be quite
a complex, sci-fi and philosophical scenario
written down for this new record,
but what about its musical content? Why
did you finally abandon it in order to
complete WaterHells?
Katalypse 2025 was a futuristic scenario for
a book and for an album. It was about the
massive expansion of human senses by the
means of technical progression - biomechanical
sense-transplants, massive omnipresence
of information, mind drugs, etc. It starts with
two world epidemics of schizophrenia and
telepathy. In the end all individuals merge
into a single collective being. The whole globe
transforms into a single eye with view all
around in all directions, receiving all waves,
atoms, movements, stimuli at all scales and
zooms at the same time - vision, sound,
smell, taste and sentiment, even thoughts
and feelings all melt together as one – the
All...
But when you look at history there’s nothing
more old-fashioned and worn-out than former
future scenarios. Trying to write about the
future always catches you in the present zeitgeist,
in fashions and trends. It catches you
in time. I didn’t want to step into this trap
and preferred to choose a more timeless con-
40
cept. That’s the reason why I decided to
complete WaterHells. People 5000 years ago
can understand its deeper meaning and people
in 5000 years will still understand it. Not
so with the meaning of Katalypse 2025...
It’s possible to frequently read from
your writing hand, as much in lyrics as in
interviews, words such as
the Great All, the One, the
Hidden Force, the Ocean,
the Eye, the Sea, the Total
Sum, the World of worlds,
the Entity, etc. Despite the
multiple word identities
you’re using here and there,
I get the feeling that all of
these could be in fact
boiled down to one pulsing
phenomenon.
Tao, Brahman, Apeiron, Hyle,
Quintessence, Bosenazelo,
Hunabku, Manitu, Orenda,
Wakonda, Wakan, Mana, Ain
Soph, Central Monad, Substance
or also Primal Force
and Great United Energy in
modern physics... There are
countless words for it. It took
me quite some years before I realized that all
these are just words, nothing more...
Nothing more, nothing less as we say… I
would even go as far as to say that most
words are just words – right! But being
the lyricist and should I say, your own
band’s great writer, is there something
one can do to push up the words to
something more involving so to speak?
So that they are indeed "just words”,
yeah, but they can also achieve maintaining
kind of an evocative or emotional
power when you do sing yourself
through them. To which degree of importance
are your lyrics accomplished
within Korovakill?
Lyrics always have been very important for
us in the past. Maybe too important, because
the lyrical flow always has been much harder
and slower than the musical flow. So 95 percent
of my compositions always remain unfinished,
because there aren’t enough words to
finish songs out of them. It’s very easy for
me to create music. It’s also quite effortless
for me to develop lyrical ideas and concepts.
But it’s heavy like a stone to catch them into
the shapes of words. On one hand the sound
and rhythm of the words must fit the music
and the atmosphere perfectly. On the other
hand the meaning of the words should create
a perfect flow of visions and pictures in the
head of the listener. It’s very difficult to

achieve this perfect unity of sound, rhythm
and meaning.
I think that you have nowadays started
mentioning an upcoming album for 2008.
It’s probably a bit early to work out a
whole prognosis regarding your own
future, but if you do consider the already
composed material at hand, do you have
an idea about what the new album will
become like? Will it be another concept
album? What’s on your mind, Christof,
this time around? Are you Korovakill’s
sole and only composer when it comes to
the arrangements and the soundshaping?
More than half of the new material is already
completed. The overall vision is fixed. In my
head the album is finished. But it’s still a lot
of work to put everything together and to do
the whole recordings. Somehow it will be a
mixture of our first four albums and something
completely different at the same time.
Let’s get surprised...
On our former albums I did most of the songwriting
alone. When a song was finished we
went to the rehearsal room and the others
arranged the lines for their instruments. With
our drummer Moritz Neuner it always has
been much more. His rhythmic creativity is
enormous. I conceived the songs. But his
drum lines gave birth to them and made
them live. On our last album WaterHells also
the work of Renaud Tschirner had a huge
impact. He did many additional arrangements
and orchestrations. And he took care of all
the electronic sounds. At the moment both
are extremely busy with their other bands
(Elend, Leave’s Eyes, etc.). So I will probably
do it completely alone this time.
Do you have any lyrics already written,
or some sort of overall conceptual indications?
Any particular themes you’d like
to work with this time?
41
Yes the whole concept is finished. But of
course it will remain my secret until the release...
Afterwards it will be your secret.
Well I can only wish that the tasks
ahead will not leave you completely
dead! By the way, how did you meet
Renaud Tschirner? Both of you seem
to know each other pretty well. I understand
he already was there with
you on Korova’s first album, playing
violins and pianos if I remember well.
Should we think that he always sort
of was a second-ear friend when it
came to your personal compositions?
We know each other from The Village. He
was number 7. I was number 29. We
were neighbors for many years. In 1992
we started to enjoy music together. When he
formed his first metal band I helped on guitar
sometimes. And he also helped on violin and
keyboards at several Korova concerts and
recordings.
Making music with Renaud always has been a
big pleasure and very inspiring. Sometimes
we listen to the newest compositions of each
others. It helps a lot to decide between several
possibilities, though a second ear doesn’t
change much in our creations.
Boring question but, are you going to
stay with Red Stream? I thought you had
a better distribution, at least in America,
with this label.
I haven’t spent thoughts on that yet. But Red
Stream is definitely a great label, very reliable,
dedicated and honest. Doing WaterHells
with them has been a big pleasure.
A while ago, there were some rumors
around that Korovakill would re-record
the whole Echowelt sessions with a
much improved sound-picture. Has that
been put on ice indefinitely? If it’s never
going to be done, why aren’t you releasing
the songs to your hungry fans via
internet?
Yes, I am really sorry that you have to wait
so long for Echowelt. Already more than 10
years have passed now since the demo got
rejected by more than 50 labels. But we definitely
will do it! The first test recordings already
were realized this summer. At the moment
I am very busy reconstructing the
whole original midi tracks with click and basic
keyboards. We used a pretty stupid midi format
back in the 1990ies. And it’s pretty difficult
to integrate that in current programs.
But I am sure we’ll manage that.

We won’t release the original Echowelt demo
recordings, because we already were totally
dissatisfied with them during the recordings
in the summer of 1997. It was a 100 $ production
in a small amateur studio with a totally
drunken producer who didn’t know his
gear at all.
Who was the Echowelt Man and what
were his purposes in life?
Was there an Echowelt Man? I really don’t
remember... Aren’t we all Echoworld men,
living in our pictures and imaginations of the
world without knowing at all what’s really
going on out there? Who knows will understand...
Now to something different.
I know you have been working
very hard with your scientific
career in the past few
years, even publishing a
book out of your results,
Über die magischen Praktiken
des Managements. I
just would like you to say if
you can see any functional
similarities between your
work as a Ph.D. and your
work as a musician and
composer. Do you sometimes
get musical ideas out
of your studies and vice
versa, are you acknowledging
any research ideas out of
your Korovakill activities?
In both areas I try to experiment
and create new ways of
thinking. In both areas just a
small circle of people enjoys to
dive into it. These are the only
similarities. When I am a scientist
the musician is dead. And
when I am a musician the scientist
is dead. Scientific work
most of all means reading a lot
of books and papers. It means
filling your brain with countless
thoughts of others. In contrast
creating songs means totally
42
rejecting any others thoughts. It means freeing
your mind completely from the outer
world. So during the times when I wrote WaterHells
University had to rest. And when I
wrote my last scientific work Prognosis in
Magic and Modernity (800 pages), I wasn't
able to create full albums for several years.
There’s no synergy at all.
For the German readers, when will Prognosis
in Magic and Modernity be available
in a book format? In a few words,
can you present what it is all about?
It’s the history of prognosis from Babylon to
Wall Street, from Marxist-Leninist society
prognosis to market research, from culture
cycles to genetics, from science fiction and
utopias to futurology, from astrology to technical
chart analysis, from African necromancy
to macroeconomics. The first 600 pages contain
the different methods of prognosis –
visionary methods, methods based on reading
signs and methods based on patterns in
the timeline. The last 200 pages contain the
different philosophic and psychological aspects
of forecasting, the second oldest business
in the world...
It hopefully will be released in four books
over the next couple of years.
Were some of your university
colleagues aware of your music?
I mean, it coulhave been
funny to hear during a seminary
classroom someone
whispering to his right-placed
friend: "Before coming to our
meeting, I did some internet
research on this Dr. Christof
Niederwieser, and I got to
listen to some of his music.
Well, I don’t think we really
know who this man is!”
I never made much fuss about
my musical activities at University.
Anyway it’s already some
years ago that I’ve attended
seminars. Something like internet
research wasn't common in
these days.
Artistically, I believe you
were much more active before,
for example in numerous
musical side-projects,
writing lyrics here and singing
there. Then only recently
you’ve surprisingly worked
with (in)famous bizarre director
Bill Zebub on his 2006
dolls movie, Dolla Morte,
lending your voice to one of
the characters. Can you

please present what was the role you
had to fulfill in there? And is this something
you’d like experiment with in the
future?
After Charnel Fields I was involved in a couple
of other bands and projects. But one day
I realized how much energy this takes away
from Korova. So I stopped all foreign obligations
by the end of 1999. Actually there have
just been two engagements that I really enjoyed
– the vocal work for ANGIZIA and the
electro songs that I did together with Renaud.
The voices for the Bill Zebub movie were
much fun for an afternoon, no big deal. I had
to talk English with hard German accent.
Probably there will be more narrator work in
the future. It’s a good possibility to push
vocal expression further. Some radio plays in
German language are loosely planned. And if
a young movie maker needs strange voices
for his next film, feel free to contact me.
Speaking of cinema and of theatrical
voices, when listening to your music and
extravagant performances, I imagine
you must have been (and still would be)
quite a special live act. How did that go
in the past, and why in the end did you
stop playing live?
Yes, our concerts always were pure madness.
I don’t think that my old body would still be
able to do it. It was so exhausting. We
stopped to play live in 2000. It just became
too much organizational work. I love organizing.
But in the case of our live concerts I just
had the feeling that I could use my energies
more effectively. With KorovaKill I want to
create music, not spend 95 % of the time
with management activities.
Our live line-up for a gig consisted of 6 to 10
people – musicians, guest musicians, light
and sound engineers... and I had to work out
43
the whole performance with each single of
them and organize everything.
So at the point where my scientific work intensified
a lot we decided to quit the live lineup
and regular rehearsals and just continue
with a very small studio line-up: Moritz on
drums, Renaud on keyboards and sounds and
myself for the rest. This helps a lot to concentrate
very effectively on our musical creations.
Are you at least kind of proud to have
participated in the awakening and pioneering
phase of experimentation within
the metal world? I personally think that
what you’re doing now with avantgardemetal.com
is a direct continuation of
that and a pretty cool gesture in itself.
At least from what I know, I guess it’s
fair to say that you’re quite a modest
and reserved man, but I say there
should be more creative individuals like
you in every artistic and scientific field. I
honestly hope that the inner
floods of pictures are going
to keep you boiling deep inside,
Christof.
Yes, I really enjoy seeing what
came out of our activities started
in the early 1990ies. When we
released Charnel Fields in 1995
most reviews have been very
negative. The metal scene was
quite narrow-minded in these
days and hated experimentation.
But we needed the mainstream
magazines and labels, because
otherwise nobody would have
been able to experience our
work. Probably there already
were many people interested in
avant-garde metal. But it was
extremely difficult to reach them.
The internet has helped a lot to democratize
the music scene, to connect people who love
the same kinds of music. So some years ago
I was very positively surprised that avantgarde
metal is more and more becoming a
widespread term. More and more weirdos are
enjoying the experimental sides of metal.
And they can get cool albums very easily
without fighting through the big walls that
were built by labels and mass media in former
days. I hope avant-garde-metal.com can
help to cultivate the styleless styles a little,
the metal beyond borders and to support all
freaks and weirdos, scientists and philosophers,
libertines and mavericks of metal music.

DOL AMMAD
The Kings Of Space Metal Opera
By Chrystof
Did you ever wonder how it would sound if
epic progressive metal unified with exquisite
synthesizers and electro sounds in the vein of
1970ies pioneers like Jean Michel Jarre or
Vangelis? And instead of a lead singer there
was a whole classical choir performing the
lyrics? Then DOL AMMAD definitely will become
one of your greatest favourites ever.
When I first listened to them one year ago I
was totally blown to another dimension
somewhere in the mighty depths of space.
DOL AMMAD create unique, innovative music,
epic landscapes of crystallizing sound. At the
same time they manage the legerdemain of
writing very catchy songs with big hit potential.
The 21st century of metal has begun
now. And DOL AMMAD show how the future
may look like. So enter the intergalactic
spaceship and beam to the planet of Thanasis
Lightbridge, creative head and visionary of
these mighty towers reaching up to the
stars…
Thanasis, you‘ve just returned from military
service two months ago. Despite
being at the army you found your own
label Electronicartmetal Records and
released your second masterpiece
"Ocean Dynamics". How did you manage
these musical activities during this
whole year as a soldier? Was it difficult
for you to promote "Ocean Dynamics"?
Has military been an important experience
for you personally or just a waste
of time? How short is your hair now?
44
The last year has been hard for me, both with
the problems with our previous record label
going bankrupt and with my imminent army
duties.
I am afraid the military service is still obligatory
here in Greece and although now it lasts
12 months (it used to be 3 years in my father’s
days), it is still a distracting factor in a
man’s career and life, an obstacle that if you
aren’t willing to take your chances by wearing
a blonde wig and act gay, you have to go
through the hard way ;-P
As an experience it makes you test yourself
under strange situations, living without your
comforts, away from your music, sleeping in
a room with 60 unknown smelly guys, etc. It
basically forces you to respect and appreciate
all the tiny things in your everyday life that
you take for granted. Thankfully throughout
my service I met a lot of new friends and this
for me is the only thing that made this time
worthwhile. I hope Greece will start investing
more money on education and social welfare
than the military.
I miss my hair, I was long-haired for about
10 years and cutting it short after all this
time was a strange experience! I scare myself
every time I look in the mirror ;-P Thankfully
my hair grows back quickly,
it is all over my eyes now already!
Through all this craziness
of the last 12 months I
had prepared our second album
with Dol Ammad and was very
anxious how and what to do to
promote it. I suppose forming a
personal record label was always
in the back of my mind
since this music is so unique
and "different”, it requires total
artistic freedom and an innovative
vision that very few labels
display today. So once again I
chose the hard way, formed
"Electronicartmetal Records”
and never looked back! It may
be TONS of more work to do but
it is really worth it. I have direct
contact with the fans, the distros
and the media and it is a very satisfying
experience. Due to the limited free time I had
in the army I couldn’t explore my new label
to its full potential, but now I am back, I am
psyched and working as hard as possible to
expand its capabilities.
"Ocean Dynamics" is one of the most
visionary albums I’ve ever been able to
enjoy. On one hand it’s very innovative
and independent. On the other hand it’s
extremely catchy and has got a big hit
potential. Can you imagine that Electronic
Art Metal could become music for

the masses one day in the future? How
have the reactions of the media and fans
been so far?
Thank you for your kind remarks, I am honoured
that you feel this way about my music!
It's true that although I try to create something
really different and experimental, at the
same time I don't want to end up with music
that is inaudible and would only serve as an
experimental salad in a museum :-P I don't
know however if Electronica Art Metal will
ever be music for "the masses" but that
doesn't really concern me as I rarely seem to
agree or act in conjunction with what "the
masses” think and do. I make music basically
for my own pleasure and for other adventurous
co-travellers that I discover along the
way! Only with these devoted friends is this
journey of music discovery worthwhile and
doesn’t end up being just some shallow music
with lifestyle-strings attached.
Can you tell us more about the lyrical
concept of "Ocean Dynamics”? In her
review Katja speculated that it could be
a Journey from outer space into our solar
system and finally descending into
the oceans of planet earth. In other articles
I’ve read that it’s a science-fiction
concept about a water planet. What’s
really the story behind? Is it somehow
connected to the concept of your debut
"Star Tales”?
Yes, just as in "Star Tales”, the lyrics of
"Ocean Dynamics” are science fiction stories
but this time theme-based around the liquid
element, the power of the seas. I live in a
sea-dominated country and city so the liquid
element is vital for my life. I really can’t
imagine myself living away from the sea. The
"Thalassa Dominion” story that mainly dominates
the album is about an aquatic race
living in a water planet. They are the spores
45
of an ancient space tribe whose actions resulted
in the devastation and corruption of
the liquid element through the eras. This time
I worked together with a good friend who
writes these kinds of short-stories and we
had a great time coming up with aquatic
space themes! I like to have a different
"theme” for each album although I must confess
that I am not such a fan of lyrics in general.
I rarely read the lyrics in bands’ booklets;
I always focus on the music no matter if
the band speaks about cosmic epic battles or
how to make a cheesecake ;-P However, I
am a sucker for all things sci-fi related so I
think that my music will always have a space
flavour.
DOL AMMAD is a huge collective consisting
of a 14 member classical choir, 2
session members on vocals and drums, 2
band members on guitars and bass and
finally Thanasis Lightbridge, yourself, as
the mastermind. To what extent would
you call DOL AMMAD a band? How much
are the others involved in the creative
process? Are you doing all the songwriting
and arrangements alone or do the
others take part in that?
Dol Ammad is not a band in the typical form.
I don’t distinguish members as "session” or
"band” members. It is true that I compose all
the music and control everything in the creative
process but this doesn’t diminish the role
of any of the participants. I like to think of
Dol Ammad’s albums as movies where I am
the director and the rest of the guys and girls
are actors and technical crew! I have a personal
dream and vision with my music, but
you need people to make the dream come
true. I am grateful that I work with such talented
personalities.
Is it difficult to work with so many musicians?
You have to do lots of coordination
and motivation work. Is this something
that goes easy for you?
It can be difficult to coordinate all those people
and arrange all the parts but I like the
challenge. Through this process I have
learned a lot and already in "Ocean Dynamics”
I used experience I had gained in "Star
Tales” to make the job better and easier.
However I do plan to user a more compact
group of people for the third Dol Ammad album.
The choir consists of 7 women and 7
men. Do they sing exclusively for DOL
AMMAD? Or are they a professional choir
that also does other performances?
Most of them are professional choristers and
soloists in various choirs and solo acts in

Greece. Some are even teachers of solo and
choral singing and most have participated in
the biggest opera and symphonic events in
Greece. I am privileged to be surrounded by
such great musicians.
Great musicians and also very good looking,
at least when it comes to the women.
Did the optical aspect play a certain role
in your choices? Or did you spice up the
band picture with some photo models ;-
P? Or is it just that Greek women look
very beautiful in general for the eyes of
North Europeans?
Hehe, of course Greece has very beautiful
women and the band picture actually depicts
the singers and not some models! LOL! But I
understand your point of view since when I
visit Northern Europe I think that all the
women are amazingly beautiful there! You
see we are more used to brunette – brown
eyed beauties and feel that blue eyes –
blonde hair are more "exotic” , so this must
have the vice-versa effect on you ;-P But to
get back to the music, beauty has and should
have nothing to do with singing skills and
music nature of a person and a band. I am
totally against the countless bands seeking
pretty faces to front their band. I mean why
should I buy a musically shallow CD just because
they have a great looking girl on the
covers, videos etc? This is targeted to brainless
listeners and shares the same principles
as all those advertisements that display
babes and sexual innuendos in everything
from yoghurt to car tyres! I want nothing to
do with that and I wish the same for our listeners
too.
You came into contact with drummer
Alex Holzwarth (Rhapsody, Sieges Even)
through a common friend. What made
you choose him, especially since you are
a drummer yourself? Was it difficult to
convince him for DOL AMMAD? Will he
also play on your future releases?
46
Especially since I am
also a drummer and
drums are my second
biggest passion after
synthesizers, I wanted
the best possible drums
for my music. Alex
Holzwarth was a hero
to me for many years
and didn’t think twice
when I had the chance
to get in contact with
him. It wasn’t difficult
to convince him; he
just requested to check
the music first. I was
honoured by his participation and I hope to
work again with him in the future as he is a
great person and phenomenal drummer!
Some people see similarities between
DOL AMMAD and Rhapsody, because the
drumming of Alex is so characteristic.
What do you think about that?
It is true that in the power metal songs of Dol
Ammad there are similarities in the playing
style of the drums but this can be said for
any power metal band. We are also often told
that Dol Ammad has similarities with Therion
due to the use of a choir. I am a fan and respect
both of these bands but I think that Dol
Ammad is doing something totally different.
What will always distinguish us are the use of
electronics and the adventurous compositions,
things that I don’t ever plan to compromise.
For "Star Tales” the drums of Alex
Holzwarth have been produced in Germany’s
Gate Studio. In the photo album
on your webpage you are drinking a
Kakao in Porschestrasse 1 in Wolfsburg
and also have some fun with the bears of
Berlin. How did you like Germany?
Haha! Oh yes, I had a great time in Germany!
I stayed there for 2 weeks and it was

awesome! I visited Wolfsburg, Gifhorn, Berlin,
Hamburg and Hanover. I have lots of friends
there, I cooperate with German musicians
and German companies, and I feel very close
to this country! If only I had the time to learn
the language…! As for the Kakao, people who
know me are aware that I drink more milk
than water ;-P
So the next DOL AMMAD album probably
will become a concept album about a
milk planet ;-)?
LOL! Great idea! In fact I always look for
something to honour the great existence of
milk. Maybe I should write a song like "Calcium”
or "Dominion of the Holy Cows” (In 14
parts) ;-P
Can you tell us how you manage the
whole recording process? For "Star
Tales” you’ve recorded some parts in
Germany. For "Ocean Dynamics” did you
do everything in your own studio – recording,
mixing and mastering? Has the
choir been recorded as a whole with
some stereo microphones or each singer
separately?
Yes, in "Ocean Dynamics” all the production
took place in my studio in Thessaloniki,
Greece. I used various techniques for the
choir and for this album I think it is easy to
notice that the recording quality is better
than the debut. I like to record both the
whole and each voice separately (3 to 4 people
at a time). For the third album I plan to
use some new techniques I have come up
with.
The sound of "Ocean Dynamics” is marvellous.
Do you have lots of high-end
technique in your studio? Or are you one
of those clever producers who manage
47
to create excellent sound with small and
cost-effective technical means? How
does your studio look like?
Thanx! I have some high-end equipment but
they are nothing compared to huge commercial
studios. In my studio I work together
with my good friend Argy Stream with whom
we share a common passion for detail and
fidelity. We take care of every little detail and
use various techniques that in the end give
you a great result without having to sell your
house just to buy that special esoteric preamp!
Having said that, the studio is always
expanding and upgrading and we are now
open to creative bands or musicians who’d
like to use our experience and equipment for
their work. I get this request a lot so I will
soon also post photos of the studio in our
website.
You are influenced by the great synthesizer
pioneers of the 1970ies like Jean
Michel Jarre or Vangelis. Do you use
some original analog gear from those
times like Arp or Moog? Or do you mostly
work with software plugins? What do
you think about all the new software
emulations of analog gear?
I have analog and virtual-analog synthesizers
which I love! I am not a big fan of plugins
and soft-synths although I do use them a lot
also. I think in the recent years the quality of
soft synths has been greatly improved but I
believe more in the power of software libraries
than just software for analog emulations.
If you’ve grown up with MIDI and hands on
control of a synthesizer I don’t think you’ll
ever be fully satisfied by a plugin and a
mouse or even with a controller having to
map everything and create scenes etc. Although
I do use all the latest technologies
and stay up to date with the music tech progress,
I witness that I tend to go back to
simpler and older techniques the last years. I
think that it is easy to lose control with technology
and to miss the whole point of music
making.
Yes, that’s absolutely true. Many musicians
are loosing themselves in gearslutting
and drown in the new possibilities
that modern technology offers them. But
even if you are using your gear wisely it
can rob you much time. You told me that
you had a computer crash in your studio
that blocked your work for weeks. Do
you sometimes wish to make music
purely without having to dig between
countless cables, plugs, knobs and electronic
labyrinths? Maybe like in the past
when composers had a piano, some
sheets of paper and then gave the scores
to an orchestra? Or like in the future

when the head-to-midi-converter (a vision
of TT/Abigor) makes the music
stream directly from your head out of
the loudspeakers?
LOL! Head-to-midi?! I would prefer Head-to-
CD-Factory but we’ll have to start from
somewhere ;-P Seriously though we as mankind
are really in our very early baby-steps in
technology and have a lot way to go. Yes, I
had an unfortunate and simultaneous crash in
2 of the 3 computers in the studio and I had
some difficult 3 weeks trying to save the
work and bring back order into chaos. Thankfully
nothing was lost except for the time
delay and some thousands nerve-cells in my
brain. It is true that I push these machines to
their extremes but you should never count
and rely 100% on them. I think back-up and
restoration plans should be top priorities in
computer environments. I am not sure if the
composers of the past were always fully satisfied
by the way their "tools” performed their
music, a "crash” in an orchestra would be
maybe a drunken violinist ;-P
I do sometimes wish I could make music
more easily and every time I play on a classical
piano I am amazed by its purity and natural
form. However I am afraid I am trapped
forever in my electronic labyrinths and there
is no turning back now…
You also like Mike Oldfield. I think you
both share this peaceful, positive mood
in your songs and also the catchy melodies.
Did you ever think about experimenting
with folk or classical instruments
like him? Maybe not for DOL AM-
MAD, but for other projects?
Oh yes, in Dol Theeta! There is a lot of experimentation
with ethnic instruments,
mainly bagpipes, violins, flutes. I love the
sound of bagpipes it is the most captivating
folk instrument in the world. I also plan to
make a sample library of a great Greek folk
instrument when I have the time. It is an
instrument that few people know in the world
and of course there are no libraries for it. I
have found a great player of this instrument
and when I have time we will meet in the
studio to construct a virtual instrument for it!
Can you tell us more about DOL THEETA?
You will also play drums for it. And your
homepage says that it will concentrate
on your meditative and atmospheric
48
sides. When can we expect the debut
album? And what can we expect?
Yes I also play the drums in Dol Theeta and it
is turning out a HUGE album! I thought it
would be an easier production compared to
Dol Ammad and everyone was like "ok, now
you are 3 people only, this production will be
shorter” but the songs are very lengthy, deep
in emotions and feelings and have tricky orchestrations.
I am not even sure what to
expect of the debut album… Just like with
"Star Tales” we will start from somewhere to
try to find ourselves through it. The plan for
Dol Theeta was conceived when I started
infusing lots of meditative and softer/ambient
parts in Dol Ammad and didn’t feel satisfied
with it… I mean I want Dol Ammad to be in
one word "EPIC”! So I decided that electronica-art-metal
must be portrayed by more
than one band and thus Dol Theeta was born.
I am really happy with the result and also
very anxious to see what the final outcome
will be. The music is so narcotic, you dive
into the songs and sometimes you dive too
deep it gets scary…It is an electrifying inner
journey that defies limits and structures.
You are going to do a video clip for it.
Can you reveal anything about it?
Yes I think I can now reveal the first steps of
the Dol Theeta world. I have decided to release
a single before the full album. The single
will be for a song called "Goddess” and it
will also include our first ever video clip! We
are currently working on the Graphics for the
video with the help of my greatest friend who
is an expert in Computer Programming. I am
really excited to see the final result!
And did you ever think about creating a
"negative twin” of DOL AMMAD with a
dark and dissonant basic mood? I mean
you already had some dramatic, furious
and dissonant parts on "Ocean Dynamics”.
But in general the mood is very
positive and makes you feel good and
optimistic even in dark hours.
Of course! It is the third "Dol” in the world of
Electronica – art- metal, a third project that
will appear in the near future! There was an
innuendo about it in my message on our
website when I announce Dol Theeta but few
people noticed it ;-P Anyway, yes I have a
VERY darker side which I can’t wait to ex-

press and share with our friends. It is when
this third "Dol” project comes out that our
listeners will finally have the total picture of
my music and understand my vision. All I can
say now is that it will be something really
extreme, an audio-violence experience that
will amaze and shock you!
Will this probably go a bit into the direction
of "Thalassa Dominion IV”? There
are several very dramatic and dissonant
parts in this song and also some hyperspeed
blastbeats?
Yes there will be inhuman blastbeats in this
darker project but it will be nothing like Thalassa
Dominion IV, you really haven’t heard
anything like this before… If Dol Ammad
sound unique, then this is ages more alien to
the ears. It is an audio violence that scares
the hell out of all my friends when they visit
me while I work on this stuff ;-P Imagine the
cruellest grind-gore death
metal band but with an
electronica speedcore
instrumentation! But
that’s for the future to
come… ;)
You seem to be a very
spiritual man. I read
somewhere that you
are practising Yoga
and also have a certain
interest in topics like
astrology. What do you
think about so called
esotericism? Of course
you can also choose
another word for it,
since "esotericism” has
been misused a lot
within the past decades.
I am a man that thinks a
lot, in every second of my
life my brain is in constant thoughts and
ideas and in day-dream-imaginations. I often
suffer from insomnia, megalomania and lack
of concentration into what is known as "real
life”. I always compare everything that happens
to mega-cosmic and micro-cosmic
scales and this can be very tiring sometimes
especially when you try to relax. I am very
interested in Yoga but not so much in astrology.
Maybe you confused it with astronomy
which is a fascinating science. Regarding
esotericism, as in knowledge that few can
grasp and remember, I think we are heading
towards ages of esotericism since the huge
clueless masses are undereducated in a world
where knowledge is so freely and easily
available. You can see it in all aspects of life,
49
music – art – politics – society. An elite-few
in a world of zombies…
With mega-cosmic and micro-cosmic
scales to you mean thinking in fateful
analogies? Like e.g. bears escape from
the zoo in several American cities and at
the same time a bear market arises at
the New York Stock Exchange? And you
think there may be a secret relationship
between those coincidences, an analogical
relationship between microsphere
and macrosphere?
Yes and no at the same time. Even the words
"Yes” and "No” which often carry the result of
a decision can be a microsphere and macrosphere
respectively. My mind drifts helplessly
through thoughts like when I make a cup of
coffee at the same time a supernova blasts a
star into shock waves of energy. This fusion
was the result of years of the star’s aging
under which star a centipede
on earth is devouring a rat or
a mother scorpion is carrying
its first scorplings on her
back. It’s this constant zoomins
and outs that go on inside
me…I can’t know if they
mean anything or if there is a
secret relationship between
them… It would be scary if
there was.
Can insomnia be an inspiring
state of mind for you?
Do you often create music
while being sleepless and
overtired? Or is it more a
state of mind where you
cannot concentrate on
proper musical work anymore?
Yes I am creative when I am
tired and stressed. But it
starts to have an impact on
my health, I can’t remember
the last time I was relaxed mentally…
You said you aren’t a big fan of song
lyrics. What about books? Do you have
any favourite authors? Or do you prefer
sound over word in general?
Oh no, I love books! My favourite authors are
Douglas Adams and Phillip Pullman. I just
don’t pay that much attention to words when
I listen to music. It is a whole different experience.
I do prefer to listen to music in my
free time but I often try to steal some time
for a good book also.
The South Park version of the famous
DOL AMMAD band picture is great. Are

you a South Park fan or did you just like
the idea of having a funny caricature of
DOL AMMAD? Which musician’s cartoon
do you like most? I think DC Cooper is
portrayed very well.
Yes I love South Park! Our good friend Ntennis
Papakostas had this idea to do a South
Park version of Dol Ammad using online software
that someone has created. Ntennis sent
me an email asking for my permission and for
some details of the members! Like who have
blue eyes etc! I think he did an amazing work
and reproduction of the entire band but I
can’t stop laughing with Alex Holzwarth and
his bongos! I also like my lightsaber ;-P
50
Okay, Thanasis, thank you a lot for the
very pleasurable conversation. I am sure
we’ll talk again soon on your forthcoming
works in 2008. The last words belong
to you.
Thank you Chrystof and the rest of the AGM
crew for the amazing support and pure
friendship! It was an honour and one of the
best interviews I’ve experienced. I would also
like to thank all our fellow music travellers
and to ask their patience for the upcoming
Dol Theeta releases. Various reasons beyond
my powers made it impossible for me to
make a 2007 release. What I can promise is
that in the first months of 2008 you will be
presented with a massive album. A huge
music adventure of space melodies and inner
emotions that I am sure you’ll love. To my
ears it feels like the best music I’ve written
so far in my life. I wish you all the best for
the New Year, may you live free and happy
and may you never stop dreaming! Space on!

ANGIZIA
A World of Their Own
By Jobst
Only the name itself should make your mind
rumble. Saying Anzigia is unique and bordershaking
is to say the least. Let alone the
words, the music stands for itself, a wacky
world to dive in. In order to try and solve
some of the mysteries behind all of this, I
called upon the mastermind behind this ensemble
to investigate some more. Welcome
to the bizarre world of Michael Haas and
Angizia.
I think that Angizia is an indescribable
project. When I introduced it to people,
they naturally asked me, "what the hell
is it?" and I replied: "well, it's... theatre
metal", so that plain mortals can understand,
and they've said, "Oh, so it's a
rock Opera!" and afterwards I haven't
managed to explain, nor define Angizia.
What do you think of people's efforts to
define Angizia? Can you define it? Do
you even want to?
The main problem in describing Angizia for
other people is connected with the matter,
that we didn't pursue a certain musical style
in the course of our 10 years and 6 albums
lasting existence. For many Angizia friends
our last album "Ein Toter fährt gern Ringelspiel"
was a brilliant radio play with morbid
demands, for others it was a special kind of
"musical theatre" with many figurative and
narrative moments and for others it was a
rock opera with influences from jazz, circus
51
music, dramatic musical, classic and klezmer.
I am not that satisfied with all these tons of
simplifications, which many of so called
"original labels" use to explain the music of
their bands in magazines or for promotion
flyers. Believe me, I hate proclamations such
as "They sound like the old Dark Funeral and
the new Dimmu Borgir!", "They are the musical
brothers of Cradle of Filth" or "They sound
like Burzum and Darkthrone!". The principle
is very simple. Labels wish to inform, that
their new signed band sounds like all their
other bands. But that's the point and for sure
a "music-economic" problem for music such
as Angizia, Devil Doll or Korova, which is not
reducible to one simple word or a trashy
compare. Bands such as Angizia, Devil Doll or
Korova have defined and invented themselves
and are not to categorize in shitty
drawers, which are necessary to guarantee
full and fat label wallets. I am sure: All these
bands are not appropriate for labels of these
"modern times", which just search for bands
that have a very similar style, but a different
name. That explains, why Angizia is not that
interesting for money horny labels. From an
economic and profit-oriented view Angizia is
really uninteresting.
Angizia was always bound to my special visions
and influences and my ideals to tell
bizarre stories with bizarre singers and instruments.
The bizarreness of Angizia could
be explained with 20 or 30 words, but nevertheless
so many people react the same,
nearly boring way: "What the hell is that?" I
don't like all these well meant bold and eyecatching
terms such as "theatre metal", "rock
opera", "classic metal" or "metal with classical
influences". To say it much easier: I don't
really like to explain Angizia for the masses.
Angizia is done to express original and unrecoverable
music. If Angizia dies, a whole
musical drawer is lost. That's it.
Speaking of definitions, I had the impression
that you're some sort of superartist:
write music and plays, sing, conduct
the ensemble etc. How do you capture
yourself, within and out of the
Angizia complex?
Well, all these things you have mentioned are
neither difficult, nor supernormal or out-

standing. That's a normal thing for so many
artists. It's a circumstance that comes with
my certain urge to realize my own plays.
That gives kind of "supervitality" and Special
Forces for all these creative works and tasks.
Singing, realizing and performing my own
figures is really easy, also making music to a
theme which I have fired in my brain or explaining
special intentions to other musicians
and singers.
Conducting the ensemble for sure is the most
difficult job, because there are so many different
dates, persons and characters to handle,
that I often had to spend 3 or 4 hours a
day for telephone calls and about 20 hours a
week to canvass all the musicians, singers
and painters with my car for improving all
these details, which are necessary to make
the whole thing perfected. Yes, indeed -
that's the most difficult job in Angizia.
Stressing out your point on Angizia being
"unprofitable" for labels, that might
explain why only the two first albums
delivered through Napalm Records roof',
while all the others came to the world by
your own label? Was it your decision,
breaking to a label-free road, or the
"market demands" led to let go? Along
the way, did another labels pursued interest
or did you wanted to keep Angizia
forever independent, in Speight of possible
signing?
Well, keeping Angizia independent in retrospect
for sure was the best decision for "39
Jahre für den Leierkastenmann" and "Ein
Toter fährt gern Ringelspiel" (our last two
albums). I am absolutely convinced of that.
52
We had the absolute and unrestricted power
to make unalterable and uncompromising
music, epic and in general INDIVIDUAL ART.
Suddenly there was no "know-it-all"-label
boss with daffy ideas and continual improvement
suggestions, neither related to music,
nor to layout, promotion and distribution. If I
compare Angizia to times, where we had
been signed to Napalm/Records, we now
really had the unique possibility to escape
from this compacted and "always the same
and in one direction"-thinking of Napalm,
which certainly wasn't the best thing for
Angizia itself.
Napalm was an interesting label for Angizia,
when they had been smaller and "(in the full
sense of the word) more "independent". This
time (1995-1996) they supported many
original bands of the 90ies (Angizia, Korova,
Abigor...) - and they really had "soul", time
and will to encourage there "beloved music".
But as soon as they have seen their chance
to have a big slice of the suddenly existing
and expecting money with "undergroundmusic"
by promoting uncomplicated, flat and
"naked-wife-and-tits"-music they lost all their
privileges and forgot all their bands from the
"starting area". That's a phenomenon they
share with many other labels worldwide. So
many labels wished to grow or "expand" and
really shared any trend, a wife with big tits
on oafish covers could originate. Angizia and
other bands all of a sudden became "most
unwanted", but ought to have get a special
promotion for a different segment of music
and music listeners. Of course we didn't join
these shallow trends and of course we hadn't
been ready for musical compromises with
efficient simplifications and boring chords or

arrangements, which became a trend
throughout all music styles in this new millennium.
On the contrary, we have developed
our music in an incomparable direction and
improved our work day for day - a long way
of music, which was announced by suddenly
omnipresent (but once individual oriented)
labels in the years 2000, 2001 or 2002.
But I have to compliment Napalm for their (it
seems so) successfully economic development.
In this regard Angizia and Napalm
went different paths in music - and both Napalm
and Angizia did a respectable job, I
think. Of course I
couldn't comprehend
their new orientation -
"to keep with the time
and every possible
trend", but to be honest
Angizia after "Das
Schachbrett des
Trommelbuben Zacharias"
didn't match with
Napalm's label policy
and all these gothic
similar releases.
Angizia is deep, bizarre, morbid and unconventional
music and has included very interesting
impulses (polka, klezmer, jazz, rock,
metal, classic, radio plays, modern theater,
circus music...) which weren't that optimal
for "angry or pure erotic music". "Gothic
metal", such as Napalm pursued after Angizia,
Korova and Co. I have disliked for its basically
flat and simple outputs. I never felt
thoughtfulness in this music, but of course, it
way very easy to consume after 8 hours work
a day or especially for relaxation. Angizia in
53
no moment of a 10 years lasting existence
was done for relaxation.
So Irene Denner and I hat to discuss a new
situation in 1998, shortly after Napalm/Black
Rose had released our last album ("Das
Schachbrett des Trommelbuben Zacharias")
in this co-operation. And we decided to keep
Angizia alive without the financial support of
an interested label and without a functioning
distribution or sales network. "I did it my way
- and it was an important way for Angizia." -
Independent from many money horny labels
of nowadays.
Of course we all the time searched for suitable
labels, who would share and support our
ideals and this very special "bizarre music
style" (the whole shebang) - first and foremost
because of the fact, that we would have
got anymore possibilities for our albums and
much more time and money for our studio
work. I really had the slight hope, that there
will exist a few labels, which are really ready
for Angizia, ready for our music and ready for
our intentions - but of no avail.
We really experienced hard (not to say "very
hard") times while being absolutely independent.
In this situation you are independent
from everything and we managed every
step ourselves with no financial help from any
label or distributor. Angizia - that means 12
or more professional musicians, which we
had to finance. No one in Angizia was kind of
"non-professional". This luxury - collecting
professional artists for Angizia - had cost
much money, which we had to pay ourselves,
but it's a most important thing of Angizia to
convey my plots and stories for you listeners
with brilliant musicians.
Today I am really tired of all these labels who
"love our music", but have no courage to
release this "beloved and special stuff". In
process of all these years (especially in the
new millennium) I became really disappointed
from many people, working in this
"so original and non-commercial underground",
because they once proclaimed "that
Angizia is one of the most outstanding bands
ever" and with this thinking they also promised
"all the world and his wife" to support

Angizia - adequate and extensive. And what
happened - many of them forgot their
thoughts and jumped on all these trendy
wagons, which have driven in another direction.
Many of these self-appointed "trendsetters in
underground music" of today destroyed various
original bands from the past by supporting
this special plagiarism of crappy and
shitty bands, which flooded countless magazines,
fanzines and websites and beyond that
all the brains of magazine readers and music
listeners. THE SIMPLIFICATON OF MUSIC
WAS AN ATROCITY AND FOR SURE "THE
DEATH" FOR THE FURTHER DEVELOPMENT
OF QUALITATIVE AND ORIGINAL UNDER-
GROUND MUSIC. Sure I have respect for the
financial success of some underground labels
and it's indeed legitimate to earn money with
superficial music, because that's the will of
some 100.000 listeners. But it's sad enough,
that many original bands disappeared as a
result of "craven label policy".
Even an interesting narrow segment of interesting
labels has missed the chance to present
really original music (and beside Angizia
I could name 10 other bands with a similar
destiny). To be honest: For me it's an inconceivable
outrage, that bands such as Devil
Doll, Korova or Angizia couldn't be supported
from one of these "great, new and original
labels, which much more than other labels
support individual art and especial music!" O
yes, I "haunted" the label strategies of some
labels and all their pseudo-artistic stuff,
which they released in the last 4 or 5 years.
All in all meaningless music - and many
bands out of this "new generation" proudly
announced in interviews, that they have been
big fans from Angizia, Devil Doll or Korova.
That's very ironic.
Regarding Angizia's unique blend of influences,
can you describe the main artists
that gave you inspiration and spiritual
guidance, if so? Moreover, I must
ask you about the Jewish influence, both
54
in music and in some epical motives -
well, as a Jew that somehow connect to
this cultural world, I was a bit astonished
within the first listening and it remained
quite an enigma for me. Can you
shed some light upon it?
I think there are not really special artists
which influenced me in my work for Angizia. I
have written my plays with the intention to
launch an absolutely new "music style" for a
serious audience. I had so much inspiration
to do that, but there also have been so many
elements in Angizia, which descended from
artists such as Irene Denner, Cedric Müller,
Emmerich Haimer or Gabriele Böck. Of course
I had the last word, but with all these mentioned
artists, especially with Irene Denner
and Gabriele Böck I always felt united for the
same aim - "presenting a completely unusual
and inimitable musical creature." We pulled
together and have worshiped our own creation.
In the last years Angizia was a small firm,
consisting of Irene Denner and me in economic
and artistic belongings. I also think,
that there had been so many irreplaceable
artists for special Angizia albums - for example
Christof Niederwieser for "Das Tagebuch
der Hanna Anikin", Aliosha Biz for "Ein Toter
fährt gern Ringelspiel" or Krzysztof Dobrek
and Jochen Stock for "39 Jahre für den Leierkastenmann"
- cause they have surrounded
basic Angizia elements such as the singing of
Irene Denner or the authoritative piano play
with unique individual singing, acting or playing
(an instrument).
In the last years I personally found inspiration
in Klezmer, Circus Music, Classic (especially
Russian composers such as Kabalewskij,
Schostakowitsch, Tschaikowsky, Rachmaninow,
but also Schumann and Brahms),
mostly perfected Jewish music and Russian
folklore. I absolutely admire incomparable
spoken voices (Otto Sander, Klaus Kinski,
Ignaz Kirchner, Meret Becker...) and absorb

special soundtracks and in particular scores
from John Williams (MEMOIRS OF A GEISHA,
SCHINDLER'S LIST, MUNICH). I think, there
exists just one leading violinist - namely the
Jewish musician ITHZAK PERLMAN - who is
able to transport such an emotional power for
the score of a movie such as "MEMOIRS OF A
GEISHA". If any other musician would play
the solo for the leading theme of "Memoirs of
a geisha", you would definitely hear that.
Watching and feeling Perlman's intensive
violin play makes me highly infected - in this
case I watch special movies sequences 100
times. In such moments I go in trance.
Well, for Angizia in special it was not difficult
to dip into special (musical) cultures. Our 3rd
album "Das Schachbrett des Trommelbuben
Zacharias", but also "Das Tagebuch der
Hanna Anikin" have been very Russian oriented.
"39 Jahre für den Leierkastenmann"
and "Ein Toter fährt gern Ringelspiel" on the
other hand had been dedicated to the Jewish
soul in music in main parts of our compositions.
I think, from 2001 to 2004 I felt like a
Jew because I was interested in so many
Jewish themes, superficially "Jewish music
and films", that I felt the decision to involve
similar elements for "39 Jahre für den Leierkastenmann"
and "Ein Toter fährt gern
Ringelspiel". Jewish music touched my soul -
and I have enjoyed it to compose Jewish
themes for my own plays. The clarinet and
violin solos for "Ein Toter fährt gern Ringelspiel"
have been transported by mostly perfected
instrumentalists, thus they became so
much vigorous and emotional.
Remaining in the influences area, aside
from the musical characteristics, Angizia
is also correspondent with the great tra-
55
dition of theater in Austria, as I see it.
Do you agree with that? Can you point
other (theatrical, lyrical) influences on
which the concept of Angizia was conceived?
Angizia is not really corresponded with the
traditions of Austrian theater. Maybe it was
pure chance that some parts of "Die Kemenaten
scharlachroter Lichter" sound like
Austrian operettas, but although the theater
itself maybe is the most important vigour in
Angizia, we are not comparable with typical
"musical plays" or "Austrian dramatic art".
Angizia is a very lively project with very
wacky and extraordinary voices and instruments.
I think, they would be too wacky to
include them in repertories of our opera
houses here in Austria. The medium "Theater"
is obvious in so many sequences of
Angizia's music, but the "Austrian theatre
tradition" especially is connected with a conventional,
classical and proper idea of "Theatre".
Angizia is neither conventional, nor
proper. Lyrically I tried to create non-typical
librettos for non-typical plots. I don't think
that Angizia follows a certain tradition, neither
in music, nor in lyrics, but we surely
embodied a special type of "crazy theatre" for
almost 10 years.
Lyrically, how did you get the ideas for
the plays?
I think I am much more cinematic than epical
thinking and working - thus my lyrical work is
bound to many theoretical pictures and paintings
I set together to the whole thing, while
searching for the most perfected conception.
I am a critical cineaste and really intrigued
with so many different films and theatrical
plots - therefore my main inspiration is cinematic
and not really lyrical. Possibly I pro-

ceed much more like a film director and not
like a dramatic adviser. In any case I first of
all complete my plot and in the course of the
finished plot I write my libretto. Furthermore
I am not in permanent search of new ideas,
while creating a new Angizia play. Lyrically
(and I speak from the libretto itself) I always
think in theatrical monologues and dialogues.
This way enables a more dramatic orientated
art and allows most lively and omnipresent
figures. Angizia plays are typical for its (social
and vocal) interaction between central characters
of a story. And they are only well done
with different and interesting figures. Before
a story is ready, I need my honest faith in
interesting characters such as a
weird Jewish organ grinder or a
chess playing Russian drummer
boy. It's for sure my most important
aim to develop and
process unaided and independent
ideas, figures and stories.
This is the first step in creating
something special. I never glom
ideas from other plots, plays or
stories. That's idiotic and boring!
The main theme behind "Ein
Toter fährt gern Ringelspiel” is
the tightrope walk between
death’s conscious melancholy
and its ironic sarcasm. I wished
to create a surrealistic story
with bizarre figures and their lively characters
in the scenery of Königsberg’s cemetery after
the 2nd world war. I believed in the force of a
metaphysical world and a more satirical access
to "death” and its related themes. It’s
one author’s most interesting "role”, when he
has the possibility to show one figure in two
lives: Elias Hohlberg, organ-grinder and protagonist
of "39 Jahre für den Leierkastenmann”
came to death within the story of our
4th album, but relives a really dreadful, but
characteristic existence on devil’s foggy and
marshy cemetery within our 5th album "Ein
Toter fährt gern Ringelspiel”.
I wrote his bony stature and corpse in a bizarre
story round black puppets, childlike
themes such as rocking horses, marionettes,
children rhymes, but also wished to create a
stage for the protagonist’s nostalgic and sorry
view on his earthly living and existence. Thus
the drama of this story is a classical one, but
associated with lots of shudder, evil, sarcasm,
irony and morbidity. I think, the morbidity of
"Ein Toter fährt gern Ringelspiel” is the most
characterizing specification of this 5th Angizia
album.
The main inspiration for "Ein Toter fährt gern
Ringelspiel” was the third and surrealistic act
of "39 Jahre für den Leierkastenmann”. I
56
wished to create a whole story round a dead
and buried organ grinder, which shouldn’t be
too severe or serious in the sense of "Dead is
cruel and evil!” or "A cemetery is always calm
and certainly a place for eternal rest!” The
story is always written with a certain wink
and I always had the intention to hide many
nostalgic and cunning elements behind the
main story line, which have to be discovered
from the listener when devouring this 75
minutes. Of course THE DEAD itself is a main
and omnipresent figure, which has place in
each chapter of this play. But it’s the same in
love songs, or not? Here "love” is the main
parameter of the lyrical approach. So a listener
shouldn’t knock against the
partly doomed and sarcastic lyrics
of "Ein Toter fährt gern Ringelspiel”.
Every Angizia work had to do with
dying, the death and his consequences.
With the first albums we
have shown a more limited and
poetic access to the death of protagonists
such as Konstanz Bürster
("Die Kemenaten scharlachroter
Lichter”), Hanna Anikin’s
mother ("Das Tagebuch der
Hanna Anikin”) or Elias Hohlberg
("39 Jahre für den Leierkastenmann”)
– and I have to repeat a
statement of the Austrian actor
and theatrical director Paulus
Manker in this connection, who once meant:
"Every serious artist needs a proper relation
to death and its soul!”
Always a hard and tricky question -
what's your favorite Angizia album, and
why?
Definitely "Ein Toter fährt gern Ringelspiel".
It's the most courageous and intractable album,
because of the fact, that the plot itself
is more controversial, peculiar and narrative
than other Angizia plays. It's so difficult to
stage and experience a figure in calm and
quiet moments (only voice or voice and piano...)
during a musical work with aggressive
and "rhythmical rock-jazz-and-circus" music -
the interesting opposition to enable an album
with bizarre and quiet narrative elements and
figures on one side, but also loud, florid and
very lively sequences on the other I implemented
with "Ein Toter fährt gern Ringelspiel".
I know it's kind of untypical, unpopular and
"non-commercial" to offer different spoken
voices between complex, dramatic music -
but "Ein Toter fährt gern Ringelspiel" I did in
the thought of a completely inefficient and
uneconomic musical existence. It took so
much time, money and energy to realize this
album that I am really proud of the 76 minutes
lasting result with which I can identify in

every single moment while listening. Maybe
it's a common principle of an artist to identify
with the latest work best. Well, I think every
Angizia album has raised different expectations
and there are really various opinions
concerning the favorite Angizia album of our
listeners. I noticed that within a questionnaire
in our website's guestbook
(www.angizia.com).
Personally I am convinced, that "39 Jahre für
den Leierkastenmann" was the most important
Angizia album, because of the fact, that
we pointed the way, which we wished to go in
the new millennium (more crazy elements,
very eccentric voices...). More than that we
experienced in new studios, with new musicians
and arrangements and a more theatrical
and "circussed" way of (musical and lyrical)
thinking - independent from any label or
label strategy.
"Die Kemenaten scharlachroter Lichter" for
sure was one of the most audacious debut
albums of an upcoming band. It was such a
complex and baroque styled play with a fantastic
17 years old piano player, who was
able to transport every
single thought of my
extensic baroque plot.
It was a fantastic work
with so many idealistic
musicians and artists.
In this connection it
shouldn't be forgotten,
that we had been no
20 years at all at this
moment. And many
contemporaries in the
90ies released Seattle-
Rock or in any case
music in honor of their
big paragons such as
Pearl Jam, Paradise
Lost or Metallica. "Die
Kemenaten scharlachroter
Lichter" however
was an independent
release and so
many musical journalists couldn't comprehend
what we wished to implement with this
"new-kind-classical music-rock". O yes, I
remember really strange Angizia-reviews in
this time.
I also enjoyed "Das Tagebuch der Hanna
Anikin", which especially in Mexico was the
most beloved Angizia-Album ever, because I
often evoke the fantastic cooperation with
Christof Niederwieser, an outstanding singer
and one of these great personalities in the
avantgarde-metal underground.
"Das Schachbrett des Trommelbuben Zacharias"
itself was Angizia's most beloved album
in Russia and Ukraine. In 1998 I dedicated
57
Angizia's music to the Russian soul of music.
It was my personal approach to a Russian
motivated plot and the symbolization of Russia's
society thinking with a simple chess
board. And Angizia sounded so special and
rare on this album. "Das Schachbrett des
Trommelbuben Zacharias" was a very important
chapter in our own era.
In general I have to say, that I always
searched for new and exciting musical and
lyrical elements with every new Angizia album,
which should contrast pleasantly from
former works. But in any case a listener had
to feel: This is (a hundred per cent) ANGIZIA
- and nothing else. So I have to stress, that
no Angizia album was done to compare it
with other Angizia works in "quality" or to
locate a special "improvement" as we always
worked for the intention(s) of a play and the
individual story itself. I loathe the poor fact,
that so many bands just release modifications
of their last works (the same ideas, the same
sound, the same lyrics...) to have a constant
audience and a steady inquiry. That's really
mind-bending and artistically uninteresting.
I've understood that the band is currently
frozen. Any particular reason for
this status? Any intentions of bringing
another score? Are you active in other
musical / literary / theatrical frames?
Angizia is currently frozen, because of many
different things, but in general familiar, economic
and temporal reasons. I don't know if I
should like, love, deny or refuse this status,
but it's a fact, which was brought with the
problems of independent existing. I am proud
of having released intensive albums through
my own small label "Medium Theater". But I

eached the point, where I had to say: My
next work would be once more a very costly,
extensive and for sure outshining release,
which I am not really standing at the moment.
In Angizia in process of time all became bigger,
larger, more intense and expensive and
for sure more energetic. It's nearly impossible
to release a 6th Angizia-album with own
financial resources and it's less promising to
find a label, which has will and courage to
realize a similar project. It's much more unimaginable
to find a label in the nowadays,
which we couldn't find in the past. Otherwise
I am not sure, if I am ready for dealing with
one of these money-horny people, which
present their stuff as "pseudo-original" instead
of more or less well done plagiarism. I
am not active in other musical, literary or
theatrical frames at the moment, but I have
some conceptions for more literary orientated
projects (with or without musical participation).
In fact I don’t mind, if 100, 1000 or 10
000 people listen to my plays. Angizia albums
wouldn’t be less
good or professional
if it would be just
10 listeners world
wide. CD sales have
nothing to do with
musical quality. But
that's an attitude I
won't share with
any label boss of
the nowadays.
How did the Austrian
metal scene
accept Angizia?
In the 90ies the
Austrian metal
scene consisted of
Abigor, Summoning, Korova and Golden
Dawn... and maybe we had been part of this
scene. But that wasn't really important for
our own development. In fact Angizia was
accepted from all these bands, especially
from Korova, Abigor and Summoning - and
otherwise we also appreciated all these bands
and projects, which all had been part of Napalm
Records. I really had pleasant contact
with Christof and Moritz from Korova, Thomas,
Peter and Michael from
Abigor/Summoning and Alex from Amestigon,
with which we released a split album for Napalm/Records
in 1995. At the end of the
90ies I found deeply friendship with Jochen
from Dornenreich, which today most probably
is the most popular Austrian metal band.
The Austrian underground "lived on” important
personalities and many interesting and
very different projects. Each of these projects
has given this underground an individual note
– and it’s sad enough, that bands such as
58
Korova do not exist anymore. Today it's for
sure impossible to speak about a "scene".
There are so many meaningless bands, which
often disappear shortly after being founded.
Angizia and Korova especially often had main
problems to convince thousands of Austrians
with their really eccentric music, as both collectives
still had been busy to pull their original
ideas through a "no original” music scene.
To be honest: Angizia has much more fans in
Mexico, Russia, Greece or Canada than in
Austria itself. Angizia’s music is very provocative,
sulky, obstinate and thoughtless original
– and more than that our music demands
serious musical empathy and precise listeners.
That is all in all reasons enough for many
conventional listeners to buy more shallow
music instead. Angizia is strenuous, but
qualitative and most professional. I never felt
to be part of a "metal band". Angizia in no
time of a 10 years lasting existence was a
"metal band".
Since we're dealing
with Avantgarde
metal, can
you describe what
this concept
means to you?
Who are your favorite
acts within
the genre?
I think Angizia is a
logical representative
of a project
"beyond the border".
Our unadjusted selfcenteredness
and
the conscious distance
from musical
categories developed our music much more
"avant-garde" than adapted to musical trends
or standards - above all we used instruments
in a nearly unusual way. We stressed classical
instruments in rock-like musical sequences
and connected classical singing with
eccentric voices. My plots are as good as
inappropriate in every METAL context and our
arrangements have nothing to do with any
other existing musical project. They are peculiar
and unadapted. Some people say they
are out of place in a musical "pseudo revolution"
which is full of sex, Satan, gothic, evil
and in general clear and simple words (for
the masses). That's mainstream and I don't
know how to shape "mainstream music"!
"Avantgarde" in any case is a conscious distance
from traditional listening and composing
habits. An Avantgarde musician evokes
discords and dislikes every fuckin' search for
more harmony in an arrangement to sound
more plausible for 100.000 listeners. Avant-

garde (metal) bands need courage for atonality
and have to be provocative, innovative
and stylistically confident. That's it.
Angizia is AVANTGARDE MUSIC, but no
avantgarde metal band. Metal is a category,
which we didn't belong in 10 years of our
existence. Metal is dominated by guitars -
and we used e-guitars at best differently and
consciously neoteric or "non-metal-like". My
ultimate Avantgarde metal bands had been
ARCTURUS (in the first place), ULVER, VED
BUENS ENDE, possibly THE KOVENANT (in
times of "Animatronic"), DEVIL DOLL (in very
special moments of their fantastic music) and
for sure KOROVA. From all present "Avantgarde
metal" substitutes I just honor FAN-
TOMAS and DORNENREICH.
Most of so called "Avantgarde metal bands"
of the nowadays cannot touch my soul at all,
although there exist of course several well
done projects with great musicians and interesting
music. I always prefer the original -
and all mentioned bands and projects are
unique and unrepeatable. Even this is a very
important fact of AVANTGARDE MUSIC.
59
I really appreciate the intention of Christof
and Katja to forward a conception for avantgarde
music and I deeply support the whole
idea of "avantgarde-metal.com" It's an important
platform for all these bands that can
or could meet the requirements of "avantgarde
music". It's a collection of the most
significant "avantgarde-metal-bands", which
themselves could bear up against this so
fuckin' boring and adapted music hype, which
apparently is and was so much interesting for
the commercial orientation of music labels
and managers in the last 10 or 12 years.
But I am sure: The underlying quality of
Avantgarde (metal) bands and many appreciable
projects beyond the border the major
part of mankind will comprehend in 20 years
at the earliest. The fixation of many labels
and magazines on catchy tunes and all these
transparent trends perhaps is understandable
in cause of economic strategies, but it's dissembling
and laughable at the same time, in
which determined manner all these labels and
magazines have destroyed the "real quality"
of music and underground: - THE AVANT-
GARDE.
www.hasharat.co.il

MANES
Outside Of Dogmas
By Jegger
Manes, one of the most outstanding musical
collectives in the world of such heterogeneous
subcultures as metal, industrial, electronics
etc., is back with an extraordinary record
full of different artistic elements. 'How The
World Came To An End' is the title of this
absolutely mind-blowing new album which
does not fit any musical category or genre.
There is a special reason why the members of
Manes can be called audio scientists or why
their music can be called art. But what is
Manes? That’s obviously a question which
cannot be answered at all. But we can try to
get a little bit closer to these guys by asking
them a few questions. So let’s dip into their
musical and artistic understanding of "omni
directional deconstruction”/destruction by
talking to Manes members Cern and Torstein:
First of all, how would you describe the
style of music Manes is playing at the
moment?
cern: varied audio, outside of most genres
and dogmas
Torstein: We've never really had a need to
define our music in any easy way, and at
least not find a crowded genrebooth to rot in.
It's fun to read what other choose to call our
music (and some people certainly should be
awarded medals for their creative tags), but
we prefer to let the music talk for itself when
it comes to defining what it is, if anything at
all. One of the worst ones is Rock/Pop, so
let's go with that...
Would you say, all the musical elements,
you integrated into your sound were part
of a master plan to escape from all the
stereotypes, dogmas and rules, which
are included, when a band in general is
playing traditional metal or especially
Black Metal or was the reason for your
musical diversity something like a natural
development in praxis to become an
artist (in your meaning of being an audio-scientist?)
on a different level of
musical expression?
cern: not really. it was mainly "wow, this and
that idea is cool, let's use it on the album”.
but, our attitudes and inspirations are extremely
varied and different, and when we
join forces to make something more proper
than just ideas and themes, we all have too
many ideas, and we have to juggle everything,
mix, mash, cook, stew, until we all say
"yes!”.
60
Torstein: We haven't had any voiced grand
plan to avoid stereotypes, no, but it's a part
of what Manes is about and who we are. We
don't measure what we do up against other
bands, we just do what we do. We don't try
to be untraditional, because the traditional
isn't a part of our equation when we make
music. We have no such goals.
Could you please try to recapitulate your
steps and phases of musical progression
from the beginning of your career until
now and is there a special reason why
you started out as a band with a blackmetal
background in the 1990ies?
cern: oh shit... manes started in '92 as a side
project. I was playing in atrox back then, but
wanted to do something a bit darker and
more intense, so I formed manes. first as a
one-man band/project, but shortly after
joined by sargatanas (from perifa). the two of
us did three demos, the debut album in '98?,
and some demo-re-releases. the current incarnation
has been going with only minor
modifications to the core-setup since 2000 or
something.
What do you think could be the reasons,
why people call you a progressive or
avantgardistic band?
cern: it probably has something to do with
the current, extreme narrow-minded-ness.
thou shalt not do something anybody might
dislike, play it safe.. which is exactly the opposite
of our main interests and motivation?
Torstein: The safe and well-documented
route is more often than not the path to
commercial success, so many bands seem to
find this the smart way to go to achieve their
ambitions. Money and fame. We actually try
to focus on the music, and that may certainly

qualify for a quick avantgarde label, wouldn't
you agree?
Let’s talk about your last record 'How
The World Came To An End'. What is the
lyrical concept behind this album or the
songs and what are the lyrical differences
to your other former records Under
Ein Blodraud Maane (1999) Vilosophe
(2003) and [view] (2006)?
cern: the first album were quite traditional,
lyric-wise, mostly in Norwegian, one in English,
topics like suicide, death of everything,
desolation. vilosophe became more philosophical
and mental, more varied topics. how
the world is a bit more focused, perhaps a
mixture of both, darkness, suicide, fear, but
in a metaphorical and abstract wrapping.
Torstein: Negativity and nihilism is something
that can be found as the essence in most of
Manes' lyrics. As Cern points out, the first
album might have had a more direct expression,
but it's not like it's miles away from
what we write about today. I guess we could
say it's drawn down to a more personal level
now.
What are the different styles of music,
you where operating and playing with
while recording your last record and
which types of music are included into
the current sound of Manes to get your
own style when you think about 'How
The World Came To An End'?
cern: we incorporate the elements we like,
and don't think too much about what other
styles having this or that as more common
elements. there is no sign saying "never do
this” or "always do this” around here.
Torstein: We don't go looking for genres to
combine or foreign elements to incorporate,
we just let things flow free as much as possible.
Nor do we include any special types of
music into anything. It's just one type.
Three words and your own construction:
avant-gardism – post-modern – progression
– ‘omni directional deconstruction’.
How could they fit into your – in my
opinion – open understanding of music?
61
cern: let loose your imagination, drop all
imagined rules and dogmas, do your thing,
and people start to call you things like that.
Torstein: Tags like that is not relevant nor
interesting for us. We don't strive to be progressive
or avantgarde, it's more of a drive to
do something that excites us and keeps our
enthusiasm fuelled. Omni directional indeed,
but maybe more destruction than deconstruction.
Would you say, your music is art, or is
this a label, Manes does not want to get
in contact like a lot of other bands in the
metal and rock genres?
cern: yeah, I feel manes is more 'art' than
band. things like that have a tendency to
sound very arrogant and stuff, but that's not
our intention. we want to express something,
our own things, not compete with anybody on
some others terms. the 'art' word is a bit
biased, but I think it kind of fit.
In an interview with another webzine
called ‘voices from the dark side’ I’ve
read that Manes have no singular concept
and that you describe your band
more like a hydra which is an interesting
picture to describe the inner structure of
a band. What was the idea behind this
metaphoric statement?
cern: hm, who said that? Torstein probably...
anyway, interesting analogy. interviews tent
to be very there-and-then, spur of the moment,
etc, so things get said without thinking
too much, etc, but...
Torstein: That might have been my statement
yeah, and it's true. We are very different
people involved in Manes. We have different
tastes in music, we have different
views on recording and concerts ... quite a lot,
really. But our common ground is Manes. We
have a chemistry that boils down to our output,
be it as albums or gigs or anything. We
focus on what we think is cool to do as Manes,
and open up for what we all think is good shit.

Is your band more something like a collective
of many artists with a democratic
approach or are there special members
in the band, who could be called musical
dictators and art directors?
cern: so far, I’ve been handling most of the
underlying electronics, and perhaps some of
the main structures, but when it comes to
actually transform those loose, sporadic and
meaningless ideas into 'proper' music, we are
all on equal standing. not really democratic or
anything, but nobody is more 'important'
than anybody else.
Would you say, that there is a progressive
scene with rock and metal growing
in Norway at the moment (I’m thinking
of bands like Extol, Red Harvest, maybe
Gåte, Thorns, Ulver, etc. by the way) in
which musical diversity is in the foreground
or is your country still the land of
Black Metal?
cern: for such a small (and Christian!) country,
Norway has a bunch of interesting bands.
perhaps people up here are more split in
opinion, and dare to do their own things,
perhaps belonging to this or that clique isn't
too important here? don't know.
Torstein: Norway hasn't been the land of
black metal for a long time now. We may still
have a few really good black metal bands
here, but it's not very visible. Well, unless
you count bands like Dimmu Borgir and Satyricon
as black metal (which I don't). Anyway,
as some people seem to forget, diversity
was a major part of the Norwegian black
metal boom in the early 90ies too. I can
mention Emperor, Mayhem and Darkthrone
as examples. None of their defining moments
sounded very similar in expression. They may
have had lyrics dealing with somewhat the
62
same subject matter, but all three of them
had a sound of their own. Anyway, we have
as much diversity here as most places, I
guess, with some hip-hop, jazz, prog, metal,
pop, country etc.
Is it hard for you as an innovative band
with a metal background to be accepted
in the different parts of the music press?
cern: yes and no. we haven't worked too
hard with expanding anything, so there hasn't
been any lack of response, he, but, as
both our history and our label candlelight is
safely anchored to metal, I guess we'll be
'stuck' here forever...
don't know, don't care too
much.
Torstein: Acceptance isn't
something we care too
much about. We see a few
reviews coming in from
magazines of various
shapes and sizes, but for
me personally it gets a bit
abstract and hard to view
as anything besides just
reviews. I don't know
what we're considered to
be, as some sort of general
stance... nor do I
know if "How the world
came to an end" is generally
viewed as a successful
album, a flop, a statement,
a piece of art or total sell-out, true or untrue
or what the fuck else. We have moved on.
Are there any future plans?
cern: a lot! remixes are a-coming, there will
be a remix compo coupled with some software
endorsements, some internet projects,
expand into different ways of expression (not
just audio), even more cooperation and collaborations
Torstein: Yes, we're working on a lot of new
stuff already. We are well underway with the
pre-production of our next album tentatively
titled "Be all / End all", and slowly also starting
to see the outlines of some other smaller
releases/projects too. We'll probably do a few
gigs here and there as time goes too, we'll
see what happens. Hopefully, our brand new
website at www.manes.no will be done this
year, but you can check at
www.myspace.com/manes to get news and
updates.
Thanks for your time and space.

SATANOCHIO
Metal Threat Anonymous
By Suleiman
The Satanochio management and the band
were kind enough to promptly provide detailed
answers to all my queries. Here then,
in all its madness (mostly uncorrected from
the original transcript) are words and ideas of
a metal killing machine. The interview was
conducted via email with Satanochio (vocals /
guitar).
First of all kudos and congrats for producing
one of the finest slabs of innovative
black / death metal in recent years
with I am Satanochio.
Hello and thank you so much man, we really
appreciate your words. It’s nice to meet
open-mind metalheads, hehe!
Kindly elaborate on your pre-Satanochio
musical backgrounds? What bands were
you in before forming this insane outfit?
Before Satanochio we were playing in different
bands, all metal-related...but, unfortunately
I cannot mention their names. Nobody
knows who we really are, and believe me,
this is our philosophy and I don’t wanna
change that. So, before Satanochio each one
of us was trying to make something with his
band...but none of us succeeded very much.
We had all kind of usual guys around us, with
usual ideas, playing and composing usual riffs
and we didn't like that way. We had enough
of "usual", "traditional" and everything that
can be considered "good" by usual people.
63
We wanted something else, something different,
we wanted to search beyond the traditional
metal, and even we are talking about
heavy metal, black metal or death/grind
metal. That's the way I did Satanochio, to
make the music that I want to hear, not to
copy some "great satanic true black metal"
band. We are all listening to all kinds of metal,
we have all the most honest respect possible
for the traditional metal, but we are all very
interested in making something fresh.
How did Satanochio form? Where did
you guys meet up?
At the beginning was just me and Satan Imparat,
a strange guy that I knew from my
childhood. Together we wanted to build the
sickest metal band from Romania. We had
some rehearsals in late 2004, and in January
2005 we recorded the crazy tracks for "The
First Strike Of The Possessed", that was released
in march, same year. After a short
Satan Imparat fell into a deep depression and
some severe mental problems and he left the
band. In May I think I had a jam with one of
my best and old friends, Grui Sanger. After
that rehearsal I knew that he is the right man
for this band and from that day he remained
the second guitar and bass player in Satanochio.
He is the best guitarist I know from
these lands and he has also some great vocal
touch (he recorded the backing vocals for "I
Am Satanochio" album), also he has a unique
style to compose drums (he programmed
shot by shot all the drums for the "Daemon"
maxi single, the "I Am Satanochio" album
and the "Heihaiheihei Caini" single).
In spring of 2007 we found this guy, Nimenea,
a great drummer from our town, and had a
rehearsal with him. Like Grui he remains in
the band as our drummer. So I can say for
the first time that now Satanochio has the
perfect line-up...and with this line-up we
recorded the new material called "Vagrant
Matter Heritage". So, after all these stories,
we are all good friend, we are like a big great
family, surrounded by devoted friends. This is
what we are, haha!
What inspired the relentless and quite
brutal nature of the music?
When you ask me about inspiration for brutality,
the first thing that comes through my
mind is Romania, with all the problems and
middle age mentalities from here. Let me tell
you a short story: yesterday I did a great
mistake. Something that I really don't do
usually...I watched TV for 15 minutes. I think
that last time I did something like that was 2-
3 months ago. Yes, I watched TV and I remained
shocked when I saw what was on the
main news. A bunch of big farmers that demonstrated
in the front of the residential yard

of the Agriculture Ministry, dropping milk
over a small mountain of animal fecals...I
don't judge their acts, I just think about the
simple image of them doing this, with that
horrible faces, that toothless large smiles,
and about the reason that makes them acting
in this way. For me this is like a sick piece of
brutal middle age, and it gives me the total
inspiration for making a track like "You Deserve
To Die!" or "The National John Doe". I
cannot take this anymore, I just can't! This
madness must stop and the only weapon I
have to fight with is my music. I cannot stay
back home and leave all the bastards throwing
their lies over the poor mindless crowds!
We are not free. Look around...just look very
carefully around and see how many of us are
the slaves of some stupid philosophy. I cannot
take anymore a generation of whores
that teach their daughters to act
like whores; I cannot take anymore
generations and generations of
religion-related minds and acts! If
I'll stop doing this, there will be no
difference between me and a sheep.
And I'm not a sheep, I am a human
being that can think, that can
dream that can grow and evolve,
that can explore everything, that
can do everything!
In your opinion, what separates
Satanochio from the current
hordes of extreme metal?
I don't know for sure, because I'm
too much into this...the guitar
playing mode, the notes, vocals,
sound, message, lyrics, production,
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drums composition, combination of
styles...everything, I guess?
There is an undercurrent of humor in the
songs and the imagery, that makes it
fresh compared to a lot of so called kvlt
bands. How did this come about? Will
this bloom further in the future?
Yes, I must admit, we had a strong cynic
humor in our lyrics. I don't know, this just
came out naturally, I guess... It's just the
reflection of this world. It's like a mirror that
reflects macabre jokes... everything that we
hate we consider as a brutal joke. Church,
State, Democracy, Freedom … big words,
small inventors with big bank accounts and
big powers. When you want to build something
serious, when you are thinking about
the human progress and evolution, the mindless
crowds are the last people that will admit
you as someone serious. And it's more than
possible that they will admit this only when
they will feel a benefit coming in their lives
based on your work. Only then...maybe.
This has to be asked. Why the masks?
The masks are very important for our message.
It's not about Satanochio the masked
guys that make strange metal music. Satanochio
represents the revolted human, we are
just a metaphor, our real faces are not important
in this story. The revolted human is
also intelligent, that's the way he is revolting
with a mirror over his face. He is cynic, ironic,
considered evil by default of the herd of
sheep. His only chance to find his freedom is
to use this mask. It's the only way that he
can make the words of revolution audible.
Otherwise the eyes of the crowds will never
fall over him...otherwise he will remain always
just someone in the crowd.

How do the song structures come about?
Is it a main composer led effort, done in
layers or a result of jamming?
Yes, I usually compose the basic song, but
after that I work on it with Nimenea and Grui
Sanger and it just happens...a new song is
done only when every Satanochio member is
150% satisfied with it. This is our way.
Do you play live often? If so, do you plan
to expand the line-up to re-produce the
density of sound onstage?
We have never played live. Even
though we had a lot of offers for
this we didn't accept. In the future,
maybe this will change.
Anyway, for the moment we are
just working on our stage looking
effects, and this will take a while.
You know, I cannot imagine Satanochio
playing live as a usual
metal band, because we are not.
We want to offer to the fans a
great show, with a great scenoraphy,
something never seen before.
But for this we will need some
serious time.
Why has there been a switching
of record labels between
your releases?
The first time when we switched the record
label was this year, in January, when I and
Grui wanted to auto produce our "Heihaihei-
65
hei Caini" single. It was for the first time
when Axa Valaha Productions was not into
our stuff, because we wanted to see how we
can manage our things using other methods.
In August Twilight13media became our new
official label and that way was released our
"Dark Visions From the Fog" DVD. For "Vagrant
Matter Heritage" we found another
label interested in our stuff, so the new E.P.
is a co-release of these 2 labels, Twilight13media
and Krudd Promotion & Booking.
I guess these new arrangements will remain
for a long time, because we are all good
friends.
What sort of progression can be expected
on the new EP Vagrant Matter
Heritage?
Vagrant Matter Heritage is a conceptual E.P.
based on the symbol and connotations of
number III. It's the first material recorded in
our new line-up. These are the first tracks
composed at the rehearsal room with our
new drummer. The sound is much better, the
lyrics have more substance, the insanity is
stronger, the compositions are better...Vagrant
Matter Heritage is our heritage
to the world, is the summary of our lives,
beliefs and experiences. It's the best material
we ever did and it is showing the actual Satanochio:
stable and certain on its way.
When can the next full-length album be
expected?
Next album...in 2008 for sure! It will be
something much more beyond, I can assure
you! Hahaha!
Are there any other (musical)
projects by the members
that we should know
about?
Yes, Grui has his own bandproject
that is called Grui
Sanger. You can check it at
www.myspace.com/gruisange
rband.
It's really fantastic what Grui
works there! He has a unique
story behind his concept and
he is working on a fantastic
record! He also had another
brutal project called Hang Him.
Really, just listen to the compositions
of this guy, how he
plays the riffs and how he
composes his drums; really, I
am a fan!
What's the metal scene in Romania like,
and are there others pushing the
boundaries like you?

I just saw a few good bands here, maybe
because the crowds here are more traditional
bands unfortunately. If they are not traditional,
they are based on a very clear style
for sure (death metal, heavy metal, metalcore,
etc). I really don't know a real boundaries-pushing-metal-band
from Romania. We
had all kind of problems caused by our style
and image over here, where a big part of fans
respect only the traditional values of metal.
Even if it was very hard for us, we understand
also that it was very hard for them to
accept an unusual band like Satanochio in a
country where a tribute band has a bigger
value than one based on it's original
stuff...but I saw that in the last period we
didn't have problems like before, so I think
that maybe people begin to accept us in a
way or another. Though this aspect is actually
good, we want to be satisfied first by our
records. I really don't care if the entire country
hates me or loves me; all I care about is
my passion and its results. Now, when the
number of fans is growing day by day, I'm
glad too see people feeding their souls with
our works!
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Last but not least, who is the hacker who
spread the disinformation about the Satanochio's
breaking up and made it seem
like your official website?
A bastard and a full...what can I say? This
story shows very clear how the low-minds
over here can act sometimes, how some guys
dedicate their abilities only to the destruction
of creation. I really don't care about that
website; we have a new one, much bigger
and more beautiful. I care just about the
work of a man that was destroyed by another
man only for pleasure.
What makes me very sad about all this shitstory
is that I heard this guy is from another
Romanian band....that is, from my point of
view, a dramatic situation.
Thank you for your time. May you rock
loud and true!!!
Thank you for spending your time asking a
madman about his reality.
All The best!

BERGRAVEN
A Small Chat About Death
By aVoid
Interview performed and translated
by aVoid. OK'd by Pär himself (May
27th 2007)
I have paid my friend and musical colleague
Pär Gustavsson a visit on this
calm Day of the Pentecost, at the warm
end of May. He the sole member of Bergraven,
responsible for the black beast
of an album called "Fördärv" ("Ruin"),
released in late 2004. We are listening to
Leaden's "Monotonous Foghorns of Molesting
Department" spreading its bleak
misanthropy, a suitable frame for the
discussions about his new album, musical
methods and the beyond to come.
The second Bergraven album, Dödsvisioner
("Deathvisions"), was released
in the United States May the
22nd, through HydraHead Records,
and will be released in Europe
through Total Holocaust Records.
How would you describe this new
record? What are your thoughts behind
it?
I would like to describe it as the journey
between dying and being dead, set to
music. The music is based on lyrics
based on the ideas and thoughts I have
about the moment of death. Stories of
near death experiences, and the way
religion looks at death and dying. It's not
easy to make music out of it, but I have
tried. Musically it's quite sombre, but
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then again, so is death. However, I am
only an observer, these are only my
thoughts, not my opinions. The only selfcriticism
I have is that I maybe shouldn't
have made it as raw as I did, but I suppose
that came natural. It is hard to restrain
yourself when dealing with these
subjects.
So where do you find inspiration for
your creations?
The lyrics come from my own thoughts
and ideas. I often get stuck on certain
subjects very intensively for periods of
time... for example the thought of the
moment of death long enough to write
Dödsvisioner. Bergraven is the part of
me that are these thoughts.
Musically, I'm inspired by my lyrics,
which I always write first. I try to shape
different sounds and atmospheres into
music, even images and sceneries at
lengths, to capture visual feelings. How
does the house of a plague-infested man
sound in G minor? Other's music also
inspire me, of course. The emotions of
Burzum is unavoidable. I listen to a lot of
black metal, but other genres as well.
Sprawling gloomy music in general; Angelo
Badalamenti, Joy Division, The Cure,
Chris Isaak... Musicians who manage
"dealing with feelings" inspire me.
Do you believe in a reality beyond
our senses - before and/or after
death?
Yes, somehow. I cannot - and have no
reason to - rule out that there are energies
beyond our senses. I have no reason
to prove that there are, either.
Death itself is such a thing - people may
claim to have seen and experienced
death, but I haven't in any concrete way.
But I do think many have.
Can it be experienced? How?
If you can reach beyond our senses,
then yes, it can be experienced. A few
can feel certain things other can't, but
I'm not one of them. It would be a
shame if we couldn't contact a spirit
world, if there is one. I haven't tried
though.

What lies beyond the grave, do you
think?
(...a long silence.) I have thought a lot
about it, naturally, but what I believe...
that is a good question. There are many
theories of what happens, but I haven't
died yet, so I don't know. I'm actually
surprised that the suicide statistics aren't
higher, considering how curious people
usually are. I cope with life, with my curiosity
growing bigger and bigger. It is
the biggest mystery of
life, you know... Whether
you end up in heaven,
hell or a big black void.
You can only speculate,
as everyone should. Or
maybe not, it is quite
anguish.
What does the word
Bergraven mean?
Berg means mountain, and raven is, well,
raven, in Swedish as well. A black mountain.
It is a metaphor for all the dark
thoughts that are ventilated more seldom
than other. That black mountain
within me is Bergraven.
Why do you only sing in Swedish?
P. It's how I express myself the best. My
knowledge of the different angles and
interpretations of the other languages I
know is too poor. I sometimes refer to
old Swedish proverbs and such, that
aren't translatable. It's strange that people
don't use their mother tongues more
often, seeing how many bad lyrics there
are. I mean, compare Rob Darken to
Dani Filth. Need I say more?
68
You are the only member of Bergraven.
Is this because a), you want
total control, or b), the lack of appropriate
musicians?
A little of both. I want to have control of
Bergraven of course, but it springs from
the absence of like-minded musicians. I
need musicians who are creative, who
compose and write as much as I do, not
just going along playing what I tell them
to play. And those are hard to come by.
Dödsvisioner was recorded at
the infamous Necromorbus
Studio, with Tore G Stjerna
recording and Perra Karlsson
(from Nominon, In Aeternum,
etc) playing session drums.
How did they affect the final
product, what input did they
have?
Well, we all worked on the arrangements,
how long different parts
should be played and other small details.
Perra and Tore go back a long time, so
there weren't any conflicts as to what
should be done and what shouldn't. We
weren't three individual wills, but worked
together as one combined will. To
have a second opinion from musicians
as experienced as them
means a lot to the process. Will
this or that work? And they of
course brought their own individuality
to it.
How do you think Dödsvisioner
will be received, and
who will listen?
I am sure that many who are into
Black Metal will be broadminded
enough to allow my non-Satanism,
deviated harmonies and many
clean guitars. I also hope that a wider
mass can grasp and identify themselves
with the emotions. And hear the screams
and distortions as amplifying the emotions,
not me trying to make angry and
heavy music. I think that music is moving
towards what it was in the 1980's,
with many more accepted genres,
equally popular, as opposed to the late
90's. I make the kind of music I would
like to hear, that I think is missing, and I
hope other thinks it is missing as well.

Do you have any side-projects?
Yes... a lot of them, with or without
names. Infernal Hellfire is a tribute to
the extreme metal of the 80's, mostly to
develope my technicality as a guitarist. I
make a lot of music; my focus isn't only
on Bergraven.
What is then the future for Bergraven?
Will there be live performances?
I have a new album finished, that I hope
to record eventually. It is a natural continuation
of Bergraven. And I have been
trying to put a live line-up together. If
there is a will to realize Bergraven onstage,
then it would be very welcome. I
will continue to think and develop Bergraven;
it isn't a project I will cancel
anytime soon. I make music for myself,
so whether there is any interest from the
outside or not, Bergraven will still exist.
And so, we reach the end of this interview.
A question to conclude;
what are your thoughts and views
on the state of extreme metal today?
I think that the scene is filled with less
inspiration then it was years ago. If
you're into extreme metal it's not just
playing the riffs everyone else has been
doing before, you have to have inspiration
and do something new. Darkthrone
have done their albums and concerning
black metal there is no need for people
trying to sound like them.
69
So you can say that there is a big inflation
going on and that is something I at
least try to change. I think this is something
that has happened since everyone
can record their own record without any
big amounts of money. You don't have to
try very hard and you sell some records,
but you sound like everyone else. Today
Extreme Metal has also become really
big and I don't know actually if I like it or
not, mostly because the biggest band
don't seem to have any inspiration or
energy, in my opinion. I don't see
the ”demo-energy of darkness” that I
find in old records. A band that has been
able to uphold these things is Trelldom.
They just put out a new album that
sounds exactly the same as they
sounded 10 years ago BUT with new
riffage, and amazing vocals. They also
have a very ambient feeling that really
haunts the listeners and not being focused
on sounding too extreme with
double kickdrums clicking your ears out
for example. To get the sound of darkness
there is big need for listening to
other genres and mix it with a good
sense of feeling. I do not mean in the
way Mr. Bungle does it, but more in the
way of Lurker of Chalice. I think that'll
wrap it up for you Andreas, and hope
that you will be able to express your
wants for new sounding extreme metal
in the future.
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KEKAL
The Light At The End Of The Tunnel
By aVoid and Chrystof
Despite having a leading role in their native
scene, producing six albums of highest quality
extreme avantgarde metal in over ten
years, Kekal is still one of South East Asia's
most well-kept secrets, having yet to conquer
the West. Intrigued, aVoid and Chrystof
hunts down mainman Jeff Arwadi, now residing
in Canada, to shed some light on this
obscure Indonesian trio...
A: KEKAL have released six albums over
the last decade. Still you are a tip for
insiders within the metal scene. So
maybe you could start with a brief introduction
of KEKAL to our virgin readers.
How did it all begin? What does the
name Kekal mean?
Well, Kekal has been around for 12 years
now. We just celebrated our 12th anniversary,
silently and quietly. We came from Jakarta,
the capital city of Indonesia, entered the
scene in late 1995 and released our first official
demo tape in 1996 to spread our name
and music locally and regionally, then we
recorded our debut full-length album independently
in 1997 and licensed it to various
labels.. After 2 albums then we got some
exposure within the European underground
scene, first within the Eastern part of Europe,
and then in Germany and BeNeLux after Fear
Dark released our 3rd album, and we continued
to record another album in 2003. We
toured Europe in 2004 as the first Indonesian
69
band that played shows outside Asian territory,
and our 5th album was released in 2005.
We just got our 6th album out few months
ago, called "The Habit of Fire" which is also
our first album who entered the North American
market. So far, we've been known as an
independent band who never wants to get
signed by record label, to maintain our independency
and control over our artistic freedom,
and also to own our recording masters
and copyright. Instead of band signing, we
always prefer to license our finished albums
to record labels. One of the reasons why we
haven't been known that well. As far as our
band name goes, Kekal means ’immortal’
or ’eternal’ in Indonesian language..
A: Over the last five years or so, you
have become less and less traditional
concerning composition and concept.
How has this progression been received
by the press & the audience?
We started to switch into the new direction
when we recorded our 3rd album "The Painful
Experience" in 2001. We lost many of our old
fans back then, especially those who were
into melodic black and death metal. We got
mixed responses; they were either love us or
hate us, nothing in between. But we moved
on and continued to do music like this. However,
since our 4th album "1000 Thoughts of
Violence", people were used to the fact that
Kekal is no longer the band they knew from
our first 2 albums, and we started to gain
new enthusiasts from many different musical
backgrounds.
As for the press, mostly we get very positive
reviews, despite a very few reviews who told
us that we suck because we're not metal
enough in the eyes of these reviewers, but
we always ignore that kind of reviews.
I think if people are open minded enough to
accept different musical styles, then they will
like Kekal. Right now, our enthusiasts and
loyal supporters came from many musical
backgrounds, not only metal but as broad as
jazz-fusion, punk, hip-hop, experimental, and
electronic-dance music backgrounds.

A: Were there any particular circumstances
that made you leave the metal
behind? A growing boredom with the
genre, or just a desire to break free and
find new listeners? When you're stuck
inside the metal genre, I suppose it's
hard to reach outside of it.
We didn’t leave the metal behind. Our decision
was intentionally to break its limits.
Metal music was not originally invented with
the vision of creating a tight box with exact
size, let alone to create walls inside the box
called sub-genres. But then when it was established
as a part of the genre and moreover
as a part of rock subcultures, people
then tried to put limits and now it seems that
it can no longer be expandable if we don’t try
to tear down these walls. It happens in electronic
music as well, it happens even in jazz
too. Music styles become genres and then
genres becomes subcultures.
I hope you don’t see music in genres, because
it’s how 95% of people see music
nowadays, and it’s not an avantgarde way of
seeing the music. It’s the MTV and pop culture
way of thinking. That was a part of major
labels and MTV campaign, to create boxes
so they can target the music to the specific
audience and build the number of audience in
each box, because it was a lot easier to control
and manipulate when they were pooled.
What we are tired with is the limits, like all
these tags and sub-genres that people always
associate them to us. Kekal has a unique
position, that if we are being promoted and
marketed only to music fans within one or
two sub-genres, we won’t survive. So what
we do nowadays is to find more and more
new listeners everyday, while continue fighting
to tear down all these limits. It is beyond
boredom. It’s a method of survival.
A: How has the KEKAL sound evolved
throughout these six albums? How much
has been "forced" to reach a set idea,
and how much has come naturally?
Everything comes out naturally. We just don't
want to limit ourselves whether in listening to
music as well as writing the music. We listen
to any kind of music, and most of our favourite
musicians and bands nowadays are out-
70
side metal. And since we don't want to limit
ourselves in writing and playing it, these influences
would come naturally when we write
the music. We never want to become a
unique band. Uniqueness must be genuine,
must come from the heart, otherwise it would
sound fake. Also, our instrumental and song
writing skills have progressed throughout the
years, so right now we are able to write and
play more complex music, in terms of musical
structure and arrangements.
A: Is there any band or artist that has
influenced you more than others
throughout the history of Kekal?
When we just started out until we released
our official demo tape in 1996, I think Bathory
and Iron Maiden influenced us more
than others. But after the guitarist Leo came
in, he brought his influences to the band, and
I started to listen to prog rock and electronic
stuff.
A: You are one of the few bands I have
come across that actually place themselves
in the avantgarde metal genre.
Why is this appropriate tag for KEKAL?
I really don't know. Honestly, while I don't
mind with the term avantgarde metal, but I
think this term should not be used to establish
a sub-genre. I believe these kinds of
bands try to make fresh music by putting
many of their outside metal influences into
their music, with the idea of limitless creativity,
but when another sub-genre has become
established, it would create nothing but limits,
and I don't think it's wise if we try to establish
sub-genre that limits creativity and expression.
Back in the early 80's, when thrash
and death metal weren't established as subgenres,
I heard many original bands came up
with their own interpretation of what is fast
and brutal music, but during the 90's when
all these stupid sub-genres started to emerge,
we saw more and more bands copying each
other, because there are no space left but
they had to conform to the scene, so they
could not get away from limits.. I believe that
music should not be limited at all when it
comes to an artistic expression.
C: Your latest work "The Habit of Fire"
has been released some months ago.
How have the reactions been so far?
It is still hard to tell at this stage, as not
many album reviews from the media showed
up yet, especially in Europe. Perhaps we
aren’t important enough, I just don’t know.
Last album, it needed about 6 months or so
for the review to appear in a printed magazine.
But so far, we've got very positive responses.
Same with the individual responses

from listeners that we've received through email
and myspace. Mostly they told us that
they had to give ”The Habit of Fire” some
more spins before they got hooked by the
music, but once they got hooked by it, they
told us that this is the best Kekal album, or at
least one of the best.
C: For "The Habit of Fire" you also
changed label. Your last 3 outputs have
been released by "Fear Dark Records".
Now you have licensing deals with
"Whirlwind Records" (Germany) and
Open Grave Records (USA). I've heard
you aim to reach people outside the extreme
metal scene with this approach.
Are you still satisfied with this strategy?
I guess you read that from the Fear Dark
website..? Actually, we left Fear Dark because
of various reasons that are one of the
reasons, but not the main thing who made us
to switch label. The licensing deals with 2
record labels came out because it was the
best thing to do, unless the album being licensed
to a bigger label that operates 2 offices
in both USA and Europe, it is better to
have 2 smaller record labels who release the
album to their own separate markets. Our
friends told us that we should release the
album through a U.S. record label too because
there is a growing trend for the kind of
music we do and more and more new listeners
being introduced to it.. So we took their
words seriously, while maintaining the European
market that we already had. Fear Dark
as a record label is very strict to the extreme
metal territory, but Whirlwind Records has
somewhat more diverse as they have nonmetal
bands as well. It is better for us to be
placed into a more diverse field because of
the nature of our music.
A: "The Habit of Fire", is a conceptual
album, dealing with the urbanized modern
world. What are your opinions on the
state of our World?
What we always believe is that human tends
to corrupt. It is in our blood, our hedonistic
human tendencies that control or influence us
to make decisions, but by doing that, the
result is that we are always heading to something
called destruction. I do believe that
what we do is always to gain short-term
benefits. I don't have all the answers to those
problems in the world, but first thing we need
to be aware, that when we make a choice,
the tendency is always been hedonistic rather
than altruistic. It is becoming more and more
complex when these things are done in the
name of security, nation, God, and religion.
People should be aware and critical of this,
otherwise they would be easily being de-
71
ceived by those who have power or who are
in control.
A: If you had the power, how would you
turn this hedonism towards altruism? Is
there any "magical solution", or is it up
to evolution to sort things out?
I would say that better to leave the“if I had
the power” words to all those politicians who
are running their campaigns. I will keep continue
making music. I mean there are different
ways to create awareness to all these
wrongs that happen in our world. Michael
Moore’s documentary movies are good example
of creating awareness, and they get
huge impact on the society, but he’s not a
politician himself, well at least for now. He is
doing that in capability as a documentary
filmmaker. But I must add that creating
awareness doesn't always have to be connected
with the politics within human group
interactions such as in governmental, corporate
or religious institutions. Awareness to
oneself is also included.
A: Faith and Religion is always a hot
topic when dealing with underground
music. Considering your previous affiliation
with so-called "white" metal bands
on tours and splits (Crimson Moonlight,
Slechtvalk, etc), what importance does
faith have for Kekal as a band? I'm not
trying to stigmatize you as a religious
band, I'm just interested.
For me personally, faith is something that
motivates and drives you to live the life as
human being. People might have a faith in
oneself, as well as faith in God or higher
power, or might have faith in many other
things from an amulet to a broken tooth. As a
musician, it is important to maintain drive,

and faith helps creating the drive needed to
write music, especially if the music acts as
the songwriter’s medium of expression. I
happen to believe in something good, that’s
why I am always looking for better life and
try to improve health, for example. But it
does not have to be associated with religion
whatsoever. You don’t have to be religious to
ever believe that there is light at the end of
the tunnel, and you don’t have to be religious
to have a good diet and workout some exercise.
A: Since you started in the mid-90´s,
how has the Indonesian metal scene
evolved? How socially accepted is it today
to play extreme metal in Indonesia?
When we started out, the scene was in its
early stage as not so many bands back then
who had their own songs and released demo
tapes. Most of the bands were still playing
covers of well-known metal bands. But it has
progressed and improved both in quantity
and in quality. As long as whether it's socially
accepted, I don't think the scene ever encountered
something like a brick wall. Metal
has always been underground over there,
and it hasn't been known enough in the
mainstream market and mainstream music
industry, but I think in Indonesia, there are
more independent channels for metal bands
to become more and more known to the
masses.. I'm speaking about quantity, because
there are TV shows that accept videos
from independent bands, including metal
bands, and also there are bigger music festivals
which metal bands can share the stage
with mainstream pop bands too.
A: Are there any certain Indonesian
bands you can recommend?
It is hard because I don’t listen much to Indonesian
bands nowadays. But I would recommend
a band called Cranial Incisored. I
helped mixed and mastered their new promo
CD, so in this case, I am familiar with their
music. They are one of few bands in Indonesia
who are trying to blend music styles alto-
72
gether.
A: How does a Kekal song come to life?
Who does what (especially now when
the Pacific Ocean is in the middle of the
band)?
”The Habit of Fire” is already recorded before
I came to Canada, so there was no ocean
between us, only concrete walls and flooded
streets. But for the future material, we haven’t
talked about how we deal with our current
situation yet. Let’s see what will happen.
But Kekal will continue no matter what the
situation is.
A: Both you and Azhar are vocalists. Who
is responsible for the clean vocals and
the screams respectively?
We didn’t split our vocal jobs specifically
based on which type of vocals. Most of the
clean vocals are sung by me, but that’s not
because I’m the one who responsible to handle
the entire clean vocal department. It just
happens.
A: Why have you chosen to use programmed
drums (expect on Acidity); for
practical reasons - everyone in a band
know how frustrating drummers can be,
especially when recording - or aesthetic?
Actually not all drums are programmed.
Since ”The Painful Experience” album, used
real-time human performance and combined
it with the mathematically-programmed ones
while doing the editing on the real-time part..
The real-time performances were done with
MIDI drum pads. And other than that, we
also put electronic beats and loops. Because
of the current technology of music production,
which in many cases producers use triggered
drums and manipulate the performance data
as well as the sound in the studio, there are
no separation between what is real and what
is programmed.. They are blended together,
so if you asked me if Kekal drums are programmed,
I would say not really. I call our
approach of drum production as "hybrid
drums". It’s a mix between human performance
and matrix editing, and all was done by
the help of the sophisticated digital technology.
C: You've moved from Indonesia to Canada
one year ago. What have been the
reasons for this big step? Did you already
adapt yourself to your new environment?
How do you like Canada so
far?
Well, the reasons are personal, both for me
and my wife, since she also came with me to
Canada, and it’s nothing to do with Kekal

actually. I can adapt myself quite fast here
for the culture and such, maybe weather was
the hardest part since I never experienced as
cold temperature in Canada as in Indonesia.
There is no winter in Indonesia, and winter in
Canada is quite extreme. I like Canada for
being more open in any aspect of civilization,
compared with my home country. It’s healthier
for me to be at the more open environment.
A: How do you think
moving to Canada
will affect your
creativity?
I don’t think it will
affect creativity in
terms of the quality of
my song writing, because
that depends
more on motivation,
drive and will. Maybe
the emotion would be
different, I’m a bit
more calm and laid back right now, and that
would definitely give something different to
Kekal’s music in the future.. I’m not as angry
and uneasy as when I did ”The Painful Experience”
or ”1000 Thoughts of Violence”, for
example.
C: You've been one of the very first
Asian metal bands touring through
Europe in 2004. I guess this has been a
great experience for you. Can
you tell us more about it? Has it
been the first time you left Indonesia?
Did this tour influence
your decision to move away
from Indonesia?
No. This tour didn’t influence anything
about my personal decision in life.. It
did help to test and get used a bit on the
winter, because when we were in Sweden it
was about minus 6 or minus 7 degree Celsius.
When I came to Canada, I was already prepared
for the minus 20 degree something.
The tour was great, and because we didn’t
have very tight dates, it was about half doing
job and half having a holiday. It wasn’t the
first time I was travelling outside Indonesia
or South East Asian region, I was in Australia
before, and lived there for about a month.
A: Being Swedish, I'm curious... What
was the response from the crowd when
you played in Linköping?
It was very good overall. The response from
the crowd was great, one of the best crowd
responses we got on the whole tour. There
was a little problem, but we already anticipated
to that kind of thing which would pos-
73
sibly happen to us, we weren’t surprised
when it did happen.
A: Will you do live shows again? Your
songs seem to become increasingly
harder to perform on stage.
I wish. It’s too early to say yes or no as it all
depends on the situations. The truth is that
we are unable to do shows to support ”The
Habit of Fire” at least for a year, as I am the
only member who’s in Canada and the others
are in Indonesia, but who knows in next couple
years.
C: Okay, Jeff, now we finally come to the
last question. What will the future bring
for KEKAL? What are your current plans?
In what direction do you think your further
work will evolve?
Right now I’m working on the remix of some
Kekal songs. I can’t really go into details at
this moment as things haven’t been finalized
yet, but we will post the updates on our forum
as well as our myspace blog once everything
is done. We do also have some plans
for the next year, but once again they are
still at the early stages and things might be
changed, so I don’t want to speculate for
right now. However, Kekal will stay and keep
moving forward in the current path, that
means that we will continue to progress
within this direction, in which evolution is a
part of the progression.
C: Thank you a lot! Any last words?
Thanks a lot aVoid and Chrystof for this interview.We
appreciate that. To anyone who
might not familiar with Kekal, feel free to visit
our myspace page www.myspace.com/kekal
to check out our songs online as well as getting
the information on where and how to
obtain our new album ”The Habit of Fire”, as
well as our previous albums. And you are
more than welcome to leave a comment or
send us a message. Cheers!

THE AMENTA
A Virus For Dissidents
By Jegger
What would Oswald Spengler do if he was
born in our times? Would he dig himself deep
into historical books to search evidence for
the decline of the western culture? Maybe.
But maybe he would also go to Australia and
form a band like THE AMENTA. Extreme music,
alien outfits, monumental futuristic artwork
and a dissi-dental philosophy (means
dissidents with sharp denture)
– this is THE AMENTA.
Jegger, at the moment on
holidays in Sicily, sends us
this Interview with keyboarder
Chlordane – enjoy!
In the world of metal
music The Amenta is
known as a dark extreme
metal band. Could you
please describe the style
of The Amenta to our
readers?
Chlordane: We consider
ourselves to be Extreme
Music. We have never considered
ourselves a Death
Metal, Black Metal or Industrial
Metal band, though
people do try to classify us
as such. Our music is the
result of experimentation
and trial and error. We have
never sat down to write a death metal song
or black metal song, we try to create MUSIC.
I don’t think that a band should be classifying
itself. It is way too fucking limiting. When you
have classified yourself as a "Black Metal”
band before you have even started writing
then you are setting yourself limitations. The
Amenta has no limitations. We make music
that pushes the boundaries of music, therefore
it is Extreme. The only words that I feel
comfortable using to describe The Amenta is
extreme, uncompromising, ugly and dark.
Any other classifications or adjectives are
irrelevant and irritating.
Are there any bands, which influenced
you musically and are there any special
music-styles, which are important for
The Amenta beside metal?
Chlordane: We try not to be influenced directly
by other bands. I think the best way to
approach music is to listen to as much music
as possible, from a variety of sources and
74
genres, take it all in, appreciate it and when
it comes time to write a song, lock yourself
away and don’t think about anything other
than what sounds good in the song at the
time. As soon as you start thinking "I want to
sound like this band or that riff” then you
have lost the fucking battle and you might as
well just release a shitty Darkthrone rip off.
If anything inspires us, rather than influences
us, from other bands it would be their experimental
spirit. Musicians those are unafraid
to take huge risks musically. Musicians
that are trying to invent their own musical
language. They are the inspiring
musicians. And it
isn’t my fucking job to point
them out for you. I don’t
care enough to educate people
on what I believe is correct
about music. As far as I
am concerned, if you want to
listen to shit then you get
what you fucking deserve.
As far as listening to other
musical styles other than
metal, of course we do. We
find MUSIC interesting, not
some bullshit false "brotherhood”,
meat headed, close
minded shit. We listen to
pretty much anything and
everything. If it’s interesting
and I haven’t heard it before
then I will listen to it no
matter what genre it springs
from.
Does The Amenta accept
any musical boundaries?
Chlordane: Of course not. As I mentioned
previously, to accept boundaries is to lose the
battle before you have started. We are musicians.
We can do what ever the fuck we want
to express ourselves. As listeners you have
the right and opportunity to decide if you
want to listen to it or not, but either way it
will not change how we create and appreciate
music. I like to think that anything is possible
for us. When we create music we are trying
to keep ourselves excited, and it isn’t exciting
to create music with restrictions because you
are afraid to take a risk. It is the risks that
create the excitement.
How is the line-up at the moment and do
you play live?
Chlordane: The line up is solid at the moment.
The Amenta has a very strong core and as
long as that core stays solid then The Amenta
will stay strong. We do play live. We are just

about to undertake an Australian tour with
The Berzerker and Akercocke.
Our live shows are fucking stressful and expensive
for us. It takes a lot of technology
and is a logistical nightmare to re-create
what we do on record in a live context. But
according to the reviews, we pull it off. The
new material is going to be even fucking
harder. Not only is it harder to play in the
sense that it isn’t grounded in any "metal”
technique but it is also very layered and intricate.
It will be exciting to bring into a live
situation, I think. But it’s going to cause a
shitload of stress.
Let’s talk about your record Occasus. It’s
one of the most outstanding records in
the heterogeneous subgenre of Industrial-black-death-metal.
Do you feel that
there is a lot of positive feedback coming
back from the metal scene, or do you
have problems with your sound to be
recognized?
Chlordane: Feedback for Occasus has been
great. We got many perfect score reviews in
zines and websites all over the world. There
are always detractors, but that is the nature
of the beast. Perhaps an album shouldn’t
appeal to everyone as that means it is appealing
to the lowest common denominator in
people. An album should challenge people. I
think Occasus did that. That’s something that
we hope all our releases will do. Of course it
would be nice if everyone bought Occasus
and appreciated it intellectually as it was
meant to be appreciated, but we know that
this is impossible. Not everyone is going to
appreciate a new intellectual idea. And we
are not fucking dumbing down our music to
appeal to idiots.
Is there a difference between the reactions
of your listeners (or if you want:
"fans”) and the music media?
Chlordane: Not really as far as I know. Of
course you would like to think that the music
media is made up of fans but this is not always
true. Everyone was very positive about
the album, I guess the only difference between
the "fans” and the media was that the
media had to express themselves in 300
words of a review where as the listeners usually
have a more visceral reaction.
The production and the song writing of
Occasus are fantastic. Who came up with
this idea to create such a wall of sound
and how do you write songs?
Chlordane: Thank you very much. Our song
writing is something at which we work very
hard. The wall of sound came from our writ-
75
ing techniques and the techniques we used to
record. Our song writing is based in improvisation.
It is very rare that a member will
bring in a riff or part that they have written
at home. Generally our writing sessions involve
brainstorming an idea first, finding an
idea that we find interesting enough to pursue.
Then we might all pick up a guitar or
keyboard or whatever comes to hand and
play until something clicks. The idea is then
recorded and we play over it, finding new
chords or rhythms.
I like to think that we have created our own
musical language. We do not write using conventional
harmonies or keys. Our musical
language is based more in the timbre of a
sound. We have got to the point where we
are all able to understand the musical qualities
of noise and this assists us greatly in
making our music.
Would you describe yourself as a democratic
band or are there any members
who play a leader role in The Amenta?
Chlordane: I don’t believe that any successful
band is really a democracy. A democracy
basically means that everyone’s opinion is
given equal weight. Which is great in principal
but it never works out that way, politically
or musically.
Musically, I think it works better to have an
open forum where everyone expresses their
ideas. These can then be discussed and de-

ated but the ultimate decision must be
made by a much smaller group of people,
exactly as it is in a political "democracy”
where politicians are voted into place and
then decide an idea amongst themselves
without consulting the man on the street. We
are very lucky in The Amenta, because we
have a very strong writing and ideas team. It
is this team that makes all the ultimate musical
and artistic decisions for the band.
What is the lyrical concept behind Occasus?
Chlordane: Lyrically, Occasus deals with the
decline of the western world. It is my belief
that consumerism, weak government, advertising,
and religion have made a very weak
western world. Globally the west is the spoilt,
hypochondriac kid at the party. He is weak
and vulgar.
Occasus posits the idea that western humanity
has made its own trap and refuses to free
itself because it is comfortable. Western Humanity
allows itself to be led blindly. It
doesn’t have the strength anymore to fight.
It is decaying. We are in endtimes.
Your last album Occasus was re-released
in June 2007 and you’ve opened a discussion
platform called "Virus”, which is
in your words "an antidote to primitive
thinking.” Can you tell us something
about these activities?
Chlordane: Occasus has indeed been rereleased.
It has been issued as a limited edition
CD/DVD pack. It has the full original
album plus our 2002 MCD Mictlan and an
extra new track. The DVD contains the Virus
film cycle, the film clip for the track Erebus,
the first official release of the Soundtrack to
the Hidden Earth, which was an experiment
in sonic texture from 2004. The release
comes with all new artwork. We just received
the package two days before I am writing this
and they look fucking amazing.
76
The Virus Discussion platform is an extension
of the Virus film cycle. The idea is that humans,
by nature, think primitively. For example
they will see a symbol and immediately
associated other stimuli and prejudice
with it. They do not think deeper into context
or intent. There is not attempt to understand.
Humanity merely reacts when they should be
sitting back and analysing.
The Virus films aim to show extreme imagery
constantly juxtaposed against its opposite. It
is propaganda without an agenda. The idea is
that people will HAVE to sit back and think
about what it means. The discussion platform
is there for people to discuss, debate and
above all to think beyond surface reactions.
Check it out at virus.theamenta.com. It is still
in its very embryonic stages but we are in the
process of building it up to something truly
amazing.
The Amenta has an extraordinary aesthetic
style. What are reasons to choose
such a visual concept?
Chlordane: That was what suited the release
at the time. As you will soon see we are not
defined by that image. Things are constantly
changing. It’s not a matter of reinvention but
showing other facets. Our new album will
show another side.
Your record label ‘Listenable’ posted the
message: "THE AMENTA IS THE HIDDEN
EARTH FORMED IN A FALTERING NEW
MILLENIUM EMBODYING A NEW AGE IN
EXTREMISM.” Could you please describe
for us your general lyrical and musical
concept of your band?
Chlordane: The new age in extremism is us
reclaiming the term extreme. People are under
the misguided idea that extreme music is
defined by speed, technicality and absolute
bullshit such as the pitch of the vocals. This
would make me fucking laugh if it wasn’t so
depressing. We use the term extremism to

epresent extreme IDEAS. An idea is extreme
when it challenges people. Any new idea by
that nature is extreme. This is reflected in the
lyrical and musical concept of the band. We
are constantly looking for new ideas to challenge
ourselves and our listeners. I have no
interest in being part of what modern metal
considers extreme. I wouldn’t listen to that
shit and I sure as fuck don’t want to play it.
It’s boring, pointless and frustrating.
Three words: avant-gardism – anti –
progression! How could they fit into your
understanding of music?
Chlordane: Avant-gardism is an excellent
idea when used correctly. It translates
roughly to vanguard or advance guard. So
therefore it represents the artists who are
pushing boundaries. Going first and forth to
create the paths that others follow. I think it
is extremely important in order for music to
progress and ultimately for me to be interested.
However, I do NOT believe that most
of the bands considered avant-garde are truly
so. It seems in metal that anyone who does
something slightly weird is considered avantgarde.
Unless you are pushing music forward
then this term cannot apply to you. Just using
classical music in heavy metal is not
avant-garde for example. It has been done.
It is not new. It offers nothing.
Anti- A first bastion of the primitive thinker.
You should never approach something determined
to be against it. A knee-jerk reaction
to be against something is proof that you
are not an evolved human. Truly evolved
humans will approach an idea neutrally and
allow their logic to determine whether it is of
worth or not. To be instantly anti-anything is
pathetic. This has NOTHING to do with my
music. Progression is extremely important
and is tied to the idea of avant-gardism. Mu-
77
sic must progress or otherwise it will decay,
exactly as the western world ahs done.
Would you describe The Amenta as art?
Chlordane: Of course. Art is self expression
packaged for outside appreciation. That is
what we do. We are expressing ourselves and
allowing you to see it. Therefore The Amenta
is art.
Your next record will be released in October
2007. Can you tell us something
about the musical and lyrical direction of
your upcoming album?
Chlordane: Our next album is entitled n0n
and we are in the process of recording it now.
It is a very different animal to Occasus. This
album is very dark and odd. It’s stitched together
from radio chatter and extremist political
speech. The guitar work is much more
abstract. Less typical metallic riffage, more
noise based. Synth-wise we have rejected all
the typical pseudo-orchestral junk that other
bands use to live out their Dimmu Borgir
fantasies. The synth sounds are all designed
by us. They are uglier and nastier then other
band’s guitar sounds.
Lyrically it deals with Media, Prostitution,
Politics, Junkies and Simpletons. Basically the
world is sick and this is a list of its symptoms.
This is a very different album. We refuse to
repeat ourselves. We may make friends with
this one, we may lose friends. We don’t really
care. This is the best album that you will hear
this year. If you are interested in something
new and exciting check it out. If you prefer
music that is stale, repetitive and obvious
then I am sure you will find something else to
fill your vacant little lives.
Any last words?
Chlordane: Check out virus.theamenta.com
and www.myspace.com/theamenta for updates.
Buy the Occasus re-release.
Stop being so boring. Stop allowing yourself
to be led. Start thinking beyond your prejudice.
Start thinking instead of reacting. Step
away from things. Take a look. Decide if you
want to be a part. Don’t believe everything.
Don’t watch TV. Believe something strongly
enough to kill for it. Prepare for nothing and
expect everything. Embrace a chaotic lifestyle.
If it feels safe, it’s probably killing you. If you
are comfortable then you are complacent. If
you feel you have succeeded then your goals
aren’t high enough.
The Amenta – music for dissidents.

IMPURE DOMAIN
The Ultimate Frontier Of Sound As An Auricular
Torture
By Jegger
Wow!!! Impure Domain is one of hottest extreme-metal
acts Italy has to offer. These
guys have left the orthodox path of trivial
metal-boredom a long time ago by mixing
Industrial-Death Metal and Electro- Trance
with Black Metal. Do you think Aborym is
heavy? Do you think Diabolicum is extreme?
Listen to these guys and you will hear what
the term "Storm-Detonation” should stand
for!!! Angy Impure, vocal-extremist of this
outstanding band, tells us something about
the Impure Domain collective, their music,
avantgardism and their future plans!
Jegger: Yo Angy, can you tell us something
about your band Impure Domain in
general (history, sense of the bandname,
discography)? Please introduce yourself!
ANGY: Well, we were born in the beginning of
'99. In 2000 we recorded "Progression to
impurity", in 2002 "Vivere di Male/The Evil
within", while we were playing some gigs
with important acts like Aborym and Undertakers.
In 2004 "HIV Parade" was out, and
now we are making the "Universal murder
promo" and search for a serious label with a
widespread distribution. The band name IM-
PURE DOMAIN at first was mainly referred to
an anti-moral, anti-religious concept, while
78
now it has a more nihilist meaning, a sort of
"promised land=land of shit".
Jegger: Could you recapitulate the different
phases of your musical progression?
ANGY: On our first record we played a sort of
hyper fast black metal with an attitude influenced
by acts like Bathory, Venom, Darkthrone.
Since our second release we started
adding some various electronic/industrial
elements in order to increase the dynamic
range of sound itself, arriving to mix with our
new promo death/black metal with industrial/harsh
soundscapes, the planet autopsy
in notes. Obviously this mutation also involved
the lyrical aspect, since the themes
became influenced by nihilist literature as
Cioran, Celine, Artaud and so on, till reaching
the use of W. Burroughs' "cut-up technique"
on HIV Parade.
Jegger: I want to go a little bit deeper
into the lyrical aspects of your work.
What do you mean by using themes of
nihilist literature such "as Cioran, Celine,
Artaud and so on, till reaching the use of
W. Burroughs'". Can you please explain
this a little bit more?
ANGY: Regarding nihilist literature, I adopted
some themes such as "anti-humanity”, "despite”,
"cynicism”, the futile existence of a
"moral code”...instead, about W.Burroughs,
the technique he adopted consists of a free
association of mental images and words and
in a sudden writing-act, and in this way I
wrote the lyrics for HIV Parade.
Jegger: What is your lyrical concept in
general?
ANGY: The lyrical concept that could contain
all this is APOCALYPTIC ART.
Jegger: How’s the feedback of the media
so far?
ANGY: The feedback was very good, mainly
about "HIV Parade”, that is the CD that had a
bigger distribution/visibility.
Jegger: How would you describe the
style of music, you're playing at the
moment, and what is your musical background?
ANGY: I'm not a lover of classifications, man,
hehehe, but if someone puts a gun into my
mouth to make me say what we play, I'll
answer him: apocalyptic extreme metal.
We have different backgrounds, in fact
Psykoblaster (guitars) is more into
death/black metal, Nevropathic (synths/ pro-

gramming) is a die-hard electro/industrial
maniac...I am a mix of them, listening to
extreme metal and industrial randomly, lol.
Jegger: Ok, which types of bands do you
like?
ANGY: We all listen to different types of
band/sound: Nevropathic is deeply into the
techno/industrial scene; Psykoblaster is a
fanatic of death/black metal, and I listen
from extreme metal to industrial, from movies’
soundtrack to punk ’77.
Jegger: Are there any bands, which play
extreme metal in a progressive way at
the moment in Europe?
ANGY: I could mention DODHEIMSGARD,
TRISTWOOD, ARCHON INFAUSTUS, AK-
ERCKOKE, THE AXIS OF PERDITION five
bands I esteem so much.
Would you describe your band as avantgardistic?
ANGY: Why not, in an extreme sense, yes...
we always tried to rape the genres, to fuck
the boundaries, to menace "the structure";
we are aware to have the weapons to do
that: the "will to dare", in a Luciferian sense
of the term, man.
Jegger: Hmmm, you mentioned "the
"will to dare", in a Luciferian sense of
the term". Are you working with the traditional
lyrical elements of rock-metalblack
metal, or would you describe your
music as something like modern and
provocative art?
ANGY: We feel surely modern and provoca-
79
tive, but obviously with apocalyptic themes
and sound...Lucifer is to be intended as a
metaphor of our will to break boundaries and
clichés.
Jegger: How is the music scene in Italy?
Is your country still the land of Glory,
Power and True Metal?
ANGY: Hehehehehehehe, we don't give a fuck
to those disciples of the fuckin' light, with
their fuckin' dragons and fuckin' swords useful
to satisfy their anal desires: the "metal
music" is the only TRUE thing in their imaginary
life. But we have also great bands, such
as YCOSAHATERON (necro/ industrial/ ambient),
ABORYM, HATE PROFILE, while among
new acts I could suggest you A:MADE (Nevropathic
industrial/techno side/project) and
KINETIC DEAD OF UNIVERSE (alternative
rock/ industrial).
Jegger: What do you think of bands like
Ensoph, Aborym, Malfeitor, Ephel Duath?
ANGY: I really like and respect ABORYM and
MALFEITOR, two different conceptions of
HIGH QUALITY BLACK ART. I don’t know very
well the other two acts, so I cannot judge,
sorry.
Jegger: Would you call these bands typical
for Italy by doing something special
or is it true, that Italy loves trivial metal
stuff?
ANGY: I consider these bands "non-typical”,
cause in Italy there is still an insane passion
for dragons, swords and female whispers,
fuck.
Jegger: Your homepage shows me that
Impure Domain needs and wants to have
a strong and unique visual concept.
What’s the idea behind that? Art or
something else?
ANGY: Yeah, you’re right, behind that there is
our passion for EXTREME ART in all its forms
(movies, literature, exhibitions) and actually
Nevropathic is providing for visual concept,

since he is a maniac of video-art and installations.
Jegger: Could Impure Domain
be described as [extreme]
Modern Art?
ANGY: Absolutely yes, the
ultimate frontier of sound as
auricular torture.
Jegger: How do you write
music?
ANGY: I write excerpts after
seeing a weird movie, while reading a book,
at late night during the hangover/time, so I
have often lyrics at hand...Psykoblaster starts
playing some guitar riffs and Nevropathic put
his noises and mental perversions among the
notes: they two often compose during a
movie/sight or alcoholic rituals.
Jegger: Yeehaa….Alcoholic rituals? Do
you mean you are cooking pasta, drinking
grappa and immolate a true Italian
Mermaid?
ANGY: Hehehe, my band mates in Rome often
practise rituals with alcohol, also in a
composing phase; my favourite alcoholic
ritual, instead, is drinking wine and red beers
together with my woman during AC Milan
soccer matches, invoking the incarnation of
the Mighty Lord of the Goal, F.Inzaghi.
Jegger: Why do you play this sort of music?
Is it for the ladies?
ANGY: A precise reason doesn’t exist. We are
conscious we do our best (and reach our personal
satisfaction) when we play so extreme
and we could feel bored playing metal music
in a "normal way”. My lady likes it, so it’s
enough for me, but our music is mainly for
aliens, deviated priests and alcohol-addicted.
Jegger: Hahaha! Good answer! Ok, Code
666, Scarlet Records, Avantgarde Music,
Cruz del Sur. Which label would you prefer
and why?
ANGY: I respect all these labels, but let me
say now it’s their business to value our proposal
as original and interesting, hehehe...by
now, get ready for the re-issue of "HIV Parade”
by the Scottish label CDG Records. So
stay tuned...
Jegger: What are the main differences
between "HIV Parade" (2004) and "Universal
murder"(2007) (music, lyrics and
visual concept)?
ANGY: About music, the new tracks are more
80
death metal oriented (see vocals and guitar
riffing) and the industrial traces mark the
songs and fit into them in a perfect way,
according to me. Lyrically speaking, they are
more sadistic and "religious” in a mocking
way. The visual concept now is made by
Nevropathic, so it will be surely better than
in the past, more steel, grey, blood, shit.
Jegger: You’re using a lot of industrial
elements. What’s the reason behind putting
this together with Black and Death
metal?
ANGY: We all think they increase the coldness,
the violence, the fury and the clinical
relax of an autopsy… they paint exactly the
decaying scenarios we mean to show.
Jegger: Do you play live?
ANGY: If in the future there will be cool opportunities,
why not, even if it isn’t our main
purpose…
Jegger: Are there any future plans?
ANGY: Recording the remaining tracks for
"UNIVERSAL MURDER”, waiting for the reissue
of "HIV PARADE“ by CDG Records, increase
our knowledge and feed our will, to try
being always "one step ahead” in the conception
of extreme music.
Jegger: Any last words?
Thanks for this interview, really nice talking
to you, bro… For all the readers of "Avantgarde
Metal”, please check out our websites:
www.impuredomain.net
www.myspace.com/impuredomain

DEKADENZ
The Beauty And The Machine
By Polygon
Quite unnoticed the German [D]ekaden[Z],
who are around the underground culture
since 1998, have released their debut album
"Elektronoid” last year. The longplayer features
electrifying extreme metal with dozens
of weird electronic/industrial decoration and
an interesting lyrical concept. Over the last
decades the work with ingredients of extreme
metal and electronica has become a challenge
for musicians, who want to go a few
steps further than the typical
drums+guitar+bass+disgusting vocals concept.
Symptomatic for most "industrialmetal”
releases (beside
very few exemptions like
ABORYM’s "With No Human
Intervention”) was
their half-hearted realisation
and artistic weakness.
I have to admit that I
don’t see in
[D]ekaden[Z] the revolutionaries
of any genre
nor is their debut a classic,
but at least with
"Mechatronik” and "Vom
Untergang” they created
two pounding and cold
roboter-symphonies that
made me just want to
grab my digital pen to do
an interview and learn
more about their weird
cosmos. Singer L.O.S.
and machinist "@noize”
were so kind to answer
my questions.
Hello guys, greetings from Latvia. How is
good old Germany doing these days?
@noiZe: Hi there! Can't say what's going on
here these days as we are currently too busy
working on our next longplayer to recognise
it. But things are going very well for us.
Thanks for asking.
When I was a teenager I sometimes
used to work in some factories in my city.
I really hated it, but it was good and fast
money. However, in these days I felt
what "human alienation” was all about.
Being part of the machine, the merciless
system of money accumulation. According
to your biography, "Eletronoid” deals
with the consequences of the technical
81
and digital revolutions. What exactly are
the outcomes of the last two decades
development for the evolution of human
being?
@noiZe: That's a good question, as we just
installed our 750GB divX player, full of porn
in our studio, 5min before.
L.O.S.: ...and two zombie movies
@noiZe: No doubt, the Internet is a huge
step in evolution. When we grew up, there
were only analogue wired telephones, and
now the I-phone in our pocket connects us to
a world-wide collective 24h a day. We've all
become small cyborgs. We take what the
wire gives us.
L.O.S.: and what if this wire will be cut one
day?
@noiZe: And of cause Laboga guitar amps
are also a great invention in our century.
a flute?
Your overall concept, e.g.
lyrics, outfits and music
has an obvious connection
to the "Brave New
World”. The way how you
create your music, by
using sound software,
programmed drums and
synthesizers, wouldn’t be
able without the rapidly
developing technical
skills of mankind. On one
hand you have a critical
eye on our today’s situation;
on the other hand
you don’t miss to use
present advantages to
create your own visions.
How does that fit? If
there is an alienation of
human being that should
be criticised, wouldn’t it
make more sense just to
sit in the woods and
smash some acoustic
drums to the melodies of
L.O.S.: That's easy to answer as the question
is wrong. We don't criticise the technical
revolution at all. If it all leads to the destruction
of us, that's the way it has to be, and
that's fine with us.
@noiZe: Art shouldn't be critical in my eyes.
We are just painting pictures. Yes of course,
our paintings are not the nice looking ones.
Expressionism 2.0 maybe.
As you may have noticed our webpage
deals with vanguard art exclusively.
Since the launch of avantgardemetal.com
there has been a lively discussion
about what this term really
means and how one should define this

style (not to speak about its musical
genesis). My dictionary tells me that
"avantgarde” is originally a military expression,
which stands for the soldiers in
a battle who fight in the very first row
and who are supposed to die first. Do
you feel sometimes like a warrior of the
first row and how do you define "avantgarde
metal” for yourself?
@noiZe: I simply don't want to define it. For
the warrior in the first row the whole terrain
is undefined. We are not making music to be
industrial, avantgarde or whatever metal. I
hate bands that are hiding behind a genre.
Definition leads to routine and routine means
death to the art.
L.O.S.: Those who put us into these genres
are the listeners. That's OK....you may do
that if you want to, but we are only making
music.
Would you consider [D]edaken[Z] to be
part of this movement?
@noiZe: No, I don’t think we are. Maybe a lot
of our fans are part of this movement and we
like a lot of bands that are put into this genre
(Ram-Zet or Dagoba for example), but music
does not have to be in a special genre to be
interesting for me and the most of our fans.
Music should create impressions and play
with our feelings.
L.O.S.: It just has to feel good. Some feel
comfortable when they receive pain, some
when they fuck with groups of teenage students
and some when they are listening to
our music.
As far as I know, you started as more or
less common melody Black Metal act.
82
What music had an influence on "Elektronoid”?
Do you have any idea where
this journey might end?
@noiZe: Puh...can’t remember anymore. Of
course we are influenced by other bands,
feelings, weather, guitar amps, drugs, sex or
whatever, but you don't think about a
why....that's why we make music. If you say:
"Hey maybe in this song, you must have
been influenced by this or that?”, I would
say: ”Yeahh...maybe, but it's not important
to me. Important is: There is this song and it
sounds good to us, and it makes us feel like
we wanted to feel, when we wrote it.”
L.O.S.: exactly...
Let’s go once more back to the digital
revolution. The Internet offers a lot of
possibilities for musicians like you and
me. Platforms such as mp3.com or
MySpace provide a meta-level between
artist and fan, where nobody really is
dependent on a record deal to spread his
or her ideas and visions. It's possible to
reach a lot of people in different countries
all over the world. This might be
seen as the total freedom of expression.
Anyhow, I have very negative feelings
about music as "User Generated Content”.
The value of art is decreasing as it
is available at the push of a button. For
me one should invest some effort in order
to get music. One should walk out
into the city, or at least call a mail-order
and wait for something someone worked
hard for with pure devotion. At least
something should rotate when I listen to
music and it shouldn’t just exist of bits
and bytes.

What are your feelings towards the invention
of mp3 and "innovations” like
MySpace? As far as I know you published
your album before the regular
release on CD in the Internet. Why did
you do that and what was your experience?
Will you continue to first provide
the music of [D]ekaden[Z] online?
L.O.S.: Yes you are right. I also prefer having
music on a real CD with nice jewel case and
booklet, but we have just entered the next
generation. Most people of our generation
have never seen a gramophone, those of the
next generation will maybe never own a tape.
The kids, growing up today are downloading
their music via itunes on their ipod (we are
not sponsored by apple!!!) or their mobile
and nobody knows what comes next. We
won’t change that. Everything old will die one
day and something new will be created.
That's evolution.
When I saw your live appearance at the
Nebelmond-Festival in Germany (with
avant-garde godfathers ARCTURUS –
lucky bastards!) after the concert some
of you guys were sitting lazy on chairs to
enjoy some of the other bands. I remember
thinking "These guys take their
concept very serious”. Is there any esoteric
idea behind the name
[D]ekaden[Z]? What does this word
mean to you and how does decadence
influence your lifestyle?
@noiZe: Decadence does not only influence
our live, but the live of everyone in this time.
It is the headline of our time somehow. Just
think how much money you spent to stay
alive and how much you spent to live.
Do you get any inspiration from philosophy
and/or literature?
L.O.S.: You want me to say something like
Nietzsche, right? No I'm sorry. Reality is the
cruellest author. Of cause we like philosophic
literature but philosophy teaches to make
your own thoughts, not to copy the ideas of
other people. This is called religion.
@noiZe: Would you ask a philosopher if he is
inspired by music?
What is the difference listening to your
songs being on angel dust or in a sober
condition?
@noiZe: Well, "elektronoid” was not written
to be used with angel dust. It was written for
LSD, but we realized that LSD is no more up
to date, maybe we will produce our next
longplayer for angel dust too. As limited edition
maybe.
83
L.O.S.: Just try it out, you only need angel
dust, sold by your local dealer, and "elektronoid”,
sold by us.
What is the reason for being before
death's salvation?
L.O.S.: We are the once who asked this question.
It is my job to ask it!!!
@noiZe: Maybe the question, maybe there is
no reason, but only the fact that we are here.
What is there going on nowadays in the
[D]ekaden[Z]-camp? Are you working on
a new album? Please give us a short
overview about your future plans.
@noiZe: After we just deinstalled some of our
band members, we are now working hard on
our second longplayer. I've mixed down some
previews of our preproduction for you and the
community, and you will think that "elektronoid”
sounds absurd compared to it.
L.O.S.: [D]ekaden[Z] are currently only
@noiZe and me, and I really have to say
things are working much better now. No
compromises any more, no more discussions,
the music we make is just what comes directly
out of our minds. @noiZe is now playing
guitar, and that's why we are writing our
songs with guitars, drums and vocals first.
The synths are added later. That has the
amazing effect that we just add parts to our
songs that are sounding like the sense of my
lyrics, even if they are only played on guitar.
We always tried to achieve this by using
synths, in the past. When we now add the
synthesizers, the orchestra or the digital
drums, everything sounds so extreme, that
you know what the song is about, even without
vocals.
@noiZe: After we have finished song writing
and preproduction, we will record the album.
This will be around spring 2008. We are
happy that we got an endorsement with
Laboga for guitar amps. Also we are looking
forward to have a real drummer for the recordings.
We are currently looking for musicians
(2nd guitars, bass, and drums) for live
performance.

GIRE
The End Of A Dream
By revon
This Autumn kicked off with a sad
announcement, Gire has split up
due to guitarist/vocalist Zolcsi's
will to stop all his musical activities.
But for Gire still there was
another gig to be held - and for
me another journey and concert
to go and enjoy. On the 22nd of
September, after 12 years Gire
ends its career with a concert
held at the II. Hódstock Festival.
But before their very last performance
I had an interview with
keyboardist/lyricist/programmer
Tamás in the backstage talking about past,
present and future.
What have you been doing before joining
Gire, Tamás? What other musical projects
did you have that time and which
are the still-existing ones among them?
I joined Gire and around that time created
my one-man project, Thy Catafalque which is
still active. Before Gire there was Darklight,
but nowadays it isn't necessary to release
albums as Darklight and now I use my own
name. Later Gort came which can be considered
as the child of Catafalque and Gire. Oh,
I have nearly forgotten Towards Rusted Soil
which is used to be a black metal band.
How did you become a member of Gire?
How old were you that time?
Well, it was in 1996, so I was around 20. The
others were my friends. They recorded a
demo and wanted a keyboardist in the band
afterwards. They were thinking about having
samplers and industrial effects in the music
like Prong had.
How have you been feeling yourself in
Gire at the beginning as a new member?
Oh, we knew each other from our childhood
we were friends since then, so it was easy to
fit in. Those who liked this music in the '90s
all knew each other. I was a bit older than
the others but we were attending the same
school so there wasn't any problem with it.
What was your way of thinking about life
and everything?
(Laughs) I hadn't been thinking about this, I
was attending a teacher trainee college, later
84
got graduated but didn't really like it, and it's
not my profession today either.
What ideas did you bring to the band?
We can't deny that you were the one
who brought new, revolutionizing ideas.
The first song we wrote together
was "Törjön testünk!"
and it was full of samples.
There were industrial clicks
and cracks, similar to the
sounds of clashing iron, Necropsia
featured something
like this on their album "Mélység".
So in the first version
of "Törjön testünk!" you
cannot find ordinary keyboards
and synths, just
samples. As the time went
by I had been playing a lot,
trained myself and managed to play new,
more complex melodies and such. So as I
improved, much more keyboards came into
the music but they were not effects and samples
anymore, but real keyboard playing.
Never wanted to go for the vocals?
In Thy Catafalque I'm the vocalist.
Yeah, I know, but in Gire?
Oh, no, I didn't want to perform the vocals
here (laughs). There has always been a vocalist.
There wasn't a need for another and in
concerts I can't do them while simultaneously
playing on my instrument.
When did you start to write poems?
Around the age of seventeen, everybody
starts it around that time.
Did some poets influence you?
Oh, yes, sure, some of them actually did.
Can you name some who had this impact
on you?
Yes, the poets and writers of Nyugat, all the
three generations but one of my favourite is
Radnóti, I like his works very much.
Do you still write new poems?
Yes, but not that often as in the past.
Will these new ones be published in the
future?
Yes, when there will be enough to bring out a
new volume. The first volume contains poems
from the past 8 years, so the new release

won't come out tomorrow. Frankly, I'm not
that type which sits down and thinks; "Yes,
I'm about the write a poem", no. When inspiration
comes I write it down, but that's all.
It's a slow progress now. It was faster and
more productive in the past, because I was in
bad mood.
And how did the idea come to use your
poems as lyrics?
Well, there wasn't anyone in the band who
wrote lyrics. However, the first demo featured
lyrics of Zolcsi. But later he stopped
writing and they knew I had poems. So we
tried whether they can fit in the songs, and
actually it worked. So this is it, we use them
since then.
Where does the inspiration come from?
From your fantasy or are they based on
your real life?
Based on my feelings, that's all. I don't think
it should be propaganda-like or connected to
political or social happenings, but must mirror
my feelings and thoughts.
How do you create music? I'm sure you
are responsible for the keyboards and
the drum machine.
Yes, I am. Zolcsi does the guitars, imagines it,
then plays it and after all we discuss whether
it is good or not. But I wrote the main part of
the songs recently and he played guitars for
it, despite the fact that some time ago he
brought his ideas first, and then I put on the
keys. Balázs also came up with good themes.
What was the main path to follow during
the band's career? To make something
85
new, something more colorful? Was
there anything like that?
There was, probably in the beginning. Around
that time in Hungary every second band
played modern brutal metal (as they were
called that time) covering Pantera, Machine
Head, Korn, so did we.
Then we figured out we
should play something
that differs from it, using
the keys more intensely.
But later it disappeared
and we didn't mind it, we
just did what we liked, so
the will to play music
differently had gone, we
didn't care for more what
the others played.
What is your opinion
about the Hungarian
metal and the world's
Avantgarde scene?
I think there are good
metal bands in Hungary,
I like Watch my Dying, Isten Háta Mögött -
actually they are really respected in certain
circles, but I also listen to Aebsence, Wackor,
and to some old ones such as Necropsia,
Subject, The Bedlam, Korai Öröm, Másfél and
VHK. But I like those strange bands that are
playing something different.
And what about the foreign acts?
Well, I really like Sleepytime Gorilla Museum,
UnexpecT, Arcturus... I also like the new
Ulver album.
Wow, I have only listened to one track
yet.
There's a Black Sabbath
cover on it, did
you know? It's great.
Yeah, I knew, but
I've never really listened
to Black Sabbath.
Oh, but that song is
one of the best on the
album. Anyway, I'm
not really into this, I
only know a few bands,
but I don't look for new
ones on the internet, I already have too
much music at home, and have no time to
listen to them.

Any of them influenced Gire?
Yes, their way of thinking, the way they look
on music. It is possible to create music in a
different way. I think it is good to hear what
they figure out, their crazy attitude to music;
breaking the rules, this inspires me too. But
on the other hand I don't like when it's just
mixed together and directly for to differ. In
my opinion there must be a certain image of
a song. It doesn't matter whether it is created
in an ordinary or in a progressive way.
How did Gire feel in this scene? Are
there bands you had good relationship
with?
Yes, sure, we never had arguments with the
bands we played together with - during the
12 years we didn't play too many times either,
we only had 82 or 83 concerts, it's not much
I think. Personally I haven't got any problems
with the scene.
We could say that
the Hungarian
metal scene is
responsible for
Gire's disbanding
but no, that
wouldn't be true.
We could say they
don't admit the
talent and it's
hard to break out
as well, but no,
the reason for
splitting up is not
this. I think we
are well respected
in the press, as well as in certain circles. We
felt really good ourselves.
Yes, we arrived to the concert questions.
So which ones were the most memorable
ones in the past 12 years?
Probably one of them was the support gig for
Ektomorf at the A38 Ship in January. We
liked the place. Another one was performing
before Soulfly at Petöfi Csarnok. This was a
great thing really. We also liked giving concerts
at the Nightbreed Festivals, as well as
in Marco Polo.
86
You have a Marco Polo video on youtube,
Zöld Zivatar, right?
Yes, we have that one.
Have you ever been invited to play
abroad?
No.
Never?
Once we played a gig in Senta (Serbia) supporting
Watch my Dying.
Never wanted to make music abroad?
Hungarian language could have been a problem.
In this case I don't want to translate the
lyrics. Anyway, the whole band travels to
abroad in the near future.
But you don't, do you?
I do.
Really?
Yes.
Wow, that's new for me. And where will
you go to?
To Scotland.
You too?
Yes.
And what are you going to do
there?
Nothing, I don't know. (laughs) Okay,
I will definitely do something but
have no idea at the moment. I have
many friends living there, for instance
Imre, the ex-vocalist of Gire. I will
travel to him. Balázs, our bass player
lives in Scotland as well; Zolcsi will go
to Tamás Rozsnyai, the exguitarist/vocalist
of the band who
lives in London. But this doesn't mean
that we will continue playing in Gire.
Zolcsi won't do it anymore. We are
still good friends as we were always, no matter
what happened in the band...imagine that
our ex-drummer Gábor took us here.
How much did you usually rehearse for a
concert? And how did it go?
For this one we practiced 3 times of this week
and we managed to play the songs well.
Do you personally go to concerts?
I used to go many times but in this year I
don't even know where I went to. (laughs) I
remember I wanted to see Cynic
but actually I didn't go. However
I've been to a festival organized
by a broadcasting company but it
was a piece of crap...at least it
was free of charge. Actually I
don't want to pay for concerts or
anything. I don't buy CDs either. I
have no money at all. This is why
I move to Scotland, this is the
reason why I leave Hungary. Here

in Makó, there isn't any possibility for a good
job.
So you leave the hospital? (Current place
of job)
Of course, I do. Look, I get the minimal wage
in every month and it's simply not enough. I
only have money to go to job to Szeged Hospital
on the every next day, nothing more.
That's the problem. This is why young people
are leaving Makó.
Oh, I see.. Let's have a look on your side
projects. What about your ambient one
headlined by your own name, Kátai
Tamás? Will you continue working on
new material?
It's the matter of my mood. The album "Erika
szobája" was a really special one. It has its
story...I need another story like that to make
another album.
Is there any chance that you will feature
covers of poems written by other poets
on the new Thy Catafalque album like
you did on "Tünö Idö Tárlat"?
No, not really, mainly because of the copyrights.
Last time it was a big problem, I don't
want that procedure again that I had with the
poems of Radnóti and Weöres. Fortunately I
had no problems with Ady because he died
much earlier.
What can we expect from the music?
Will there be rough, heavy songs and
light, soft ones as well?
One will find tracks in both of these styles. It
will be more extreme in variety. 10-15 minutes
are already done, and there will be a
song which is similar to "Héja-Nász az Avaron"
concerning the atmosphere. It will be a
4 minutes slow, doom-like song. However, I
don't want to mix too many styles like a maniac
if it's not for a good cause.
87
And what about the lyrical themes? Will
there be changes? You told me in an email
that it will contain more songs that
have something to do with Autumn. But
there is the cosmology, time and space
as a theme in your lyrics.
Oh, well, there were songs already featuring
Autumn, have a look at "Héja-Nász az Avaron"
or "Zápor", but yes, there will be new
ones, like "Öszi Varázslók", which is obvious
("Öszi Varázslók" is "Autumn Wizards" in
English). I'm not sure about the themes yet
but time will tell.
Will it be a digipack release?
Well, first the songs must be completed, and
here's my problem. We are planning to move
to Scotland in the middle of January. So I
have to finish the master CD at least. I won't
have time abroad to write music and such, I
can't bring out my PC there. So it will be
waiting for my return.
How much time will you spend out
there?
I don't know, nothing is in shape yet. Currently
there are so many changes in my life
that I cannot tell surely. Permanent things
are also changing, so does the view I look on
music. It won't be the most important. But I
really try to work every day on this release,
Nikoletta comes tomorrow to record some
female vocals for two new songs but I don't
want to mess up the whole thing, so the album
will come out when it has to.
Do you think the
band managed to
achieve the most it
could or not?
No, no...I don't know.
We succeed to record
the CD. I'm really satisfied
with the album.
I'm proud of it. And in
my opinion we had
much more in ourselves,
so I would
continue with Gire. But
we all know what the
situation is. Recently
Zolcsi suffered from a
lack of creativity and I
didn't want to create it all myself because
then it would be Thy Catafalque material.
Gire wasn't about just me, but the three of us.
But we cannot continue in a situation like this.
There isn't any point to run this band for
more. We aren't sad about it. Okay, I am, but
we must admit that this was the right decision.

ANSUR
Mad Max, Cognac And Postapocalyptic Cigars
By Jegger and Chrystof
Ansur is a young Black/ Death Metal band
from Norway, which is nothing special, as we
all know. But Ansur is different. Is this the
new Norwegian avantgarde/ extreme metal
phenomenon after bands like Emperor, Zyklon,
Thorns or early Myrkskog? Due to the
band their last record Axiom incorporated
"stronger progressive elements in addition to
the black and death metal styles to create
something more characteristic and unique".
Indeed these fresh guys are very promising
to become a new progressive extreme metal
sensation. Jegger and Chrystof met Espen
A.R. Aulie (EA - vocals, bass, and lyrics) and
Torstein J. Nipe (T - guitars, programming
and composition) for a glass of cognac and
some illegal Havanna Cigars...
C: Torstein, you've just returned from
holidays in Sicily. Any weird stories
about that? Donne with moustache? Mafia
trade with body parts? Men mistaken
for women at the nightly beach? Or just
the typical Scandinavian debaucheries
with Italian wine and
grappa?
T: My cover was to go there on
vacation with the family, but I
was really doing a secret mission
for the mafia. I came there
to sell six legs, four arms and
one moustache. Because I was
mistaken for a woman at night,
no one could see what I was up
to, and it all turned out a success!
C: Your Debut "Carved in
Flesh" (2004) seemed to be
influenced by Darkthrone very much. It
was raw Black Metal with some little
innovative elements. Just two years
later you released your killer-album
88
"Axiom", a masterpiece of avant-garde
metal. What was the reason for this
radical change in style? Drugs or drug
withdrawal?
T: Thanks, hehe. Well, I was about 15 or
something when "Carved in Flesh” was recorded
in my cellar, and I guess we just matured
a great deal since then. I’ve grown up
with progressive rock of the 70’s, which is
true of all members of the band; my first
meeting with a guitar was when my father
taught me the riff of "Breathe” (Pink Floyd)
when I was 5. So instead of nerding around
like the other kids, listening to 90’s trance, I
was playing guitar. OK, maybe Scooter was
really cool (still is actually), but you get my
point! So I guess we "went back to our childhood
roots”, by throwing in progressive elements.
It’s really important for us to play
whatever we want, regardless if we turn into
a Scooter cover band (not that this is planned
in near future!!). I have no relationship with
drugs at all, but I can only speak for myself
of course. But my favourite bands would
probably not be what they are if it hadn’t
been for the 60-70s drug-frenzy.
C: How did the Norwegian Black Metal
Scene react to "Axiom"? Do you feel like
lost sons now? Did any BM-lunatics
threaten to punish you for this "untrue"
album?
T: The scene reacted amazingly well (if this
"scene” of today could be defined), and to my
big disappointment, we got NO hate mail.
NONE! No death threats or pub-beatings for
being uNtR00 or anything. People in the
metal scene have only given us compliments
here, and we got no bad reviews in Norway
at all. It’s always nice for a band to get to the
point where followers of the genre know who
they are. By the way, I hope our new album
will hit all minimalist old school losers like a
kick in face! The old school
fans actually seemed to like
"Axiom”, so that’s a little
strange.
J: I know you don't like to
talk about that so much.
But can you give us some
hints about the concept
behind "Axiom"?
EA: The thing is. I really don’t
know how we came up with
the idea of mixing an alien
invasion with unsolved, biblical
mysteries into an "Axiom.” My
guess is either loads of alcohol or too much
of the shit Erich Von Däniken writes.
The writing gets a lot easier when you have a
red line to go after, and I think the listeners

get more into the album with these moodswitches
we include in the lyrics. And if not,
fuck it. We tried right?
I wont give you any hint’s I’m afraid, but if
you check out what an "Axiom” is, and if you
read the lyrics on Axiom and eventually our
upcoming release I’ll bet you’ll figure it out (if
you’re a smart, capitalistic, up going, young
man)
J: What is a Post-Apocalyptic Wasteland?
Could you describe that a little bit
clearer and what do you mean with your
musical definition: A journey through
peculiar soundscapes?
T: That quote was from one
of the first reviews we got
of "Axiom”. I think it fitted
pretty well. A Post-
Apocalyptic Wasteland in
our case is a barren terrain
destroyed by a nuclear disaster.
Just watch the Mad
Max-movies, which also
served as inspiration for the
concept of the album, both
visually and musically.
C: You mentioned Erik
Van Däniken. Do you
believe in UFOs? If yes,
do you think they come
from outer space or from
another dimension?
E: I believe that every "proven” alien visitation
in our time is made up. The thing about
Däniken is that its either bullshit, or "semifacts.”
Unlike others he presents hypothesis’s
that I find interesting and sometimes logical.
Some of those hypothesis’s are included in
the background of our "fictional universe,”
and I doubt that anyone have understood it.
YET!
C: "Axiom" has been recorded in your
own studio. What equipment did you
use?
T: Everything was recorded on a computer.
We play only stylish instruments, and that
means Fender Stratocasters and Marshall
Amps. The Rolls Royce and Rolex of music
equipment!
C: Fifteen Years ago bands had to record
their songs on 4-track tape recorders.
For bigger productions you had to go to
expensive studios. Nowadays it has become
very easy to make good and extensive
productions at home. Do you
think you could have done an album like
"Axiom" back in the 1990ies? How much
89
did the process and possibilities of recording
influence your songs?
T: We broke a little mental barrier when we
decided to do it at home. I’ve only recorded
an album in another studio ONCE, and I decided
to never do it again. I think influence
and opinions from other people sets a mark
on the product, and we want things to sound
as much as us as possible. People can be
sure that everything is done by us, and we
don’t have to think about things as time pressure
for example. So we thought "why not do
it ourselves?” It is also very important for us
to drink cognac and smoke cigars while we
are in the studio.
EA: So by lowering the production costs we
are able to buy more expensive cognac
brands and illegally imported Cuban cigars.
Increased quantity and quality. Win/win
right?
C: I know this is a boring standard question.
But what does "Ansur" mean?
EA & T: Wow, that’s like a boring and standard
question! Anyway, it’s like a rune or
something. Google is your friend.
J: You are working with Nocturnal Art at
the moment. How is the relationship
with this company? Is Samoth a nice
chief and do you feel sometimes like a
Zyklon-Cover band?
T: Samoth knows the music industry and
business, and we have learned a great deal
from him, plus good advice etc. Working with
Nocturnal Art is great, if they hadn’t picked
us up, we probably would be signed to some
shitty underground label from Eastern Asia.
EA: We actually tour as Zyklon sometimes, so
they can sit at home and smile. It’s funny;

we earn more money that way. Zyklon last
Inferno festival that was us! No seriously, no
one thinks we sound like Zyklon at all.
J: What do progression, individualism
and avantgardism mean to you? Do you
feel like a band that redefined the extreme
metal genre?
T: The traits you mention there is very important
to us. Maybe we haven’t redefined
the genre yet (or genres), but we will! Besides,
no other extreme metal band play concerts
in suits and ties. So we have already
redefined style with our exclusive appearance!
C: Suits and Ties, Cigars, Cognac, Rolex,
Rolls Royce...Aren't you afraid to loose
ground under your feet sometimes? I
mean many young Bands do...It starts
with fun and ends with hybris.
T: You forgot limousines! I’m afraid we have
already lost touch with reality, and the
ground under our feet disappeared last year.
Seriously, if we’re talking about our music, I
would with all my heart see that it never
touches the ground. I wouldn’t like it at all if
we ever made stuff that was "down to earth”.
Actually I would like it to be as far away from
the ground at possible, we want it to sound
spaced, unearthly and kind of "dreaming”.
C: Yes, it's the privilege of artists to create
their own worlds beyond the common
world. But imagine you would have
to be a politician. You would have the
power to let the world in your head become
the common world. What would
you do then? What would you like to
change?
T: I can’t really say to you what I’d change.
That would really be giving away my plans for
world dictatorship! Otherwise, I hope that no
one gets that kind of power. Particularly
scary, with communism on the rise again (at
least here and in Russia). What would you
like to change?
90
C: I would make an ANSUR song the new
national anthem of Uruguay. By the way,
into which new musical territories will
you flow on in the nearer future?
T: The new album will be a mingle of progressive
metal, 70s progressive rock, 80s
prog-pop, extreme metal, blues/jazz and a
whole variety of different stuff woven together
in a very special way. The arrangements
are taking up most of the time, but I’d
say the album is about 70% percent finished
when it comes to writing. There are preproductions
recorded also. It’s more melodic
and dramatic than Axiom, kind of a "larger
scale”. There are little synths on the album,
but a lot of Hammond organ to get that 70s
progressive rock feels, you know?
There are also choruses in the songs, in opposition
to Axiom, which was a little unorganized
when it came to the arrangements.
C: Choruses? So maybe you will end up
in the Billboard Charts one day?
T: I’d like that very much.
E: Why not?
C: You've done lots of concerts in Scandinavia.
Are there any plans that you will
also tour through the rest of Europe?
E: We’ll tour the entire world for that matter,
but that thought isn’t just realistic yet. When
we have the time and resources at disposal,
we will.
T: Yeah, we would very much like to play
gigs abroad, but the opportunity hasn’t come
yet. We talked to some arrangers, but nothing
was planned.
C: Many bands complain about bad and
unprofessional conditions on tour. Do
you think groupies can compensate for
that? Or are you in the tight hands of
girlfriends?
EA: Why make a commitment when you can
get laid without it?

T: Girlfriends are bad for the creativity, the
music comes first. When a girl starts to take
up my time so I can’t make music, she instantly
gets dumped.
C: Okay Espen and Torstein. Now we'll
change rolls. You can ask me a question.
T: Okay, this is part of the lyrics of which
song by which famous 80s artist? "There’s a
concert hall in Vienna where your mouth had
a thousand reviews. There’s a bar where the
boys have stopped talking they’ve been sentenced
to death by the blues”
C: I guess FALCO, right?
EA: Who's the 31st president of USA?
91
C: Internet says my good friend Herbert
C. Hoover. And now you can ask yourself
a question - one that you always wanted
to answer, but nobody has asked it so
far.
T: Do your amps go to 11?
EA: Yes.
C: Okay guys, thanks a lot for this very
cool interview! It was fun to meet you.
You are definitely one of the most promising
young acts of the whole scene! So
never stop the madness!
We won’t! Thanks for the interview. Looking
forward to reading a review of our NEXT album
here on AGM.com!

UMBAH
The Tech-Grind Anti-Band Aesthetic
By Suleiman
Finally here is an interview with the insanity
that is Umbah aka Cal Scott. This man is
single handily pushing industrial-cyber extreme
metal into new and strange realms
with each new release, all without proper
distribution. Therefore he remains very much
a true underground phenomena, not to mention
completely DIY in action and philosophy.
So open your ears, eyes and mind to the
sound of the beyond.
When did you start mangling the axe
(playing guitar)?
I was 15 and picked up a homemade shark
fin.
What were the main forces behind Necrosanct's
break-up?
The rhythm guitarist left then we carried on
for a while as a 3 piece but it had lost its
momentum so it just wound up.
What was the original idea behind Umbah's
inception?
After recording some riff ideas to mates drum
machine I just thought that is a cool thing to
do. So I got a 4 track and just started. It was
different from being in a band, it was more
rewarding. With every new track I discovered
I could do something better and different,
things that a real band couldn't do. So the
idea behind it was to see where that could go.
I was and still am very curious to find out.
Inspirations for Umbah?
92
All the mysteries, complexities and weirdness
and insanity of life.
What convinced you to go the DIY route,
instead of the standard studio/label contract
and distribution shebang?
Never had money for studio time for Umbah
so the default route is DIY. Anyway I prefer
recording alone when I have a good head on.
Of course having a label and distribution
would be great, cause more people would
listen.
Who is / are the primary influence(s) in
your guitar playing?
Originally inspired by the old death metal
scene, but when started listening to guys like
King Crimson and Mahavishnu it opened my
eyes to other awesome styles.
Your all time favourite bands and artists?
So many including Cynic, Meshuggah, Suffocation,
Gorguts, Ulver, Roni Size and some
weird classical shit as well.
Your current play list favorites?
Monstrosity, Dillinger Escape Plan, Origin,
Morbid Angel.
What does Umbah recording rig consist
of?
I have been using a Shark fin guitar, and now

have the old bass guitar from Microcosm...
cheers Ben. Also a fantastic Digitech
GSP2101 guitar preamp. But have been experimenting
with some GuitarRig for the last
few tracks. I used a Rode NT2 mic for vocals
on most Umbah tracks.
Always record with AcidPro these days. I
used it since V1 now its on V6 so I know it
inside out, its got rewire capabilities so now I
can run softsynths and drum software inside
Acid, a true symbiosis. And the various fx
come from either plug-ins or a rather fine
Chaos Pad II.
Is playing live ever going to be an option
with Umbah?
That would be total dream... can you imagine.
If I could find the right drummer and bassist
I would love to, but so far not been that lucky.
Where do the gothic overtones in Umbah
come from i.e. is Bauhaus or Killing Joke
responsible for inspiring some of this?
Not sure really cause I never had much
gothic in my collection, Tristania are good,
and I liked some of The Fields of Nephlim
stuff (the cover of Elysium does weird things
to my head), and also had a cool Killing joke
tape once.
What does the future hold for Umbah?
... a journey into new worlds, imagine what it
will sound like in 10 years time, I guess I
have to continue or we'll never find out.
Any chance of more conventional distribution,
because this sound deserves to
be heard by as many as possible?
Err.. Its something I have not really looked
into yet, and I do no promotion/distribution
so I guess its no surprise Umbah is a complete
unknown.
What is the idea behind Microcosm and
are their any other projects underway?
Microcosm was a 3 piece group back in the
mid nineties, I played guitar and did vocals.
It was one of those cool rare vibes, we played
with no rules. Did some gigs and after one
93
demo we moved to different places so it finished.
Live stuff is always a laugh so I always have
side projects with mates, at the moment I
play drums in a more psychedelic band and
play guitar for a local hardcore band. Also
engineer some demos each year for local
bands for a bit of fun.
What is your view of the current metal
scene and the future?
There are always a lot of bands I keep discovering
fresh music and don’t see that ever
changing.
Last but not least the ever helpful Cal has
uploaded the complete Umbah discography of
the last 10 years in mp3 format on his website.
Run now to the site http://www.umbah.co.uk/
to get the goodies.
This is music to disintegrate in hyperspace,
and it’s yours now for FREE.
Truly an icon making music for art's sake.
Respect.
AVANTGARDE METAL
RECOMMENDATION:
13 exquisitely weird albums of
Cal Scott's
UMBAH
DOWNLOAD FOR FREE at
http://www.umbah.co.uk

BRACHIALILLUMINATOR
Communicate As If It Was 1899.
By Jonny Lignano
Coincidentally Bozkovich, the mastermind of
Brachialilluminator and executor of the
Mighty himself and Sgt. Lignano were
working for the National Austrian Post
this summer. Whilst he was working
in a small post office somewhere in
Vienna, I was dutiful working in a
small post office in Kötschach-Mauten
[don't bother looking that up, it is
between the middle of nowhere and the end
of the world].
Whilst work itself was boring [as hell, for the
Satanist readers among you] for both of us,
we were in communication-heaven and able
to (mis)use the available resources without
knowledge of any superiors [besides the
Mightiest, of course]. Before we started what
might be known in 'The Great Book of Music
History' as the first "telegram-interview", we
sent a sheer enormous amount of telegrams
between our two offices. The one I remembered
most was his telegram,
citing the entire lyrics of Frank
Zappa's 'Valley girl' in an envelope
that played some
Dadaistic electroclash when
opened.
In case you wondered: telegrams
are still in use, and yes, they are awfully
expensive for puny non-post officeworkers.
Fortunately we did not have to
morse the questions and answers back and
forth, these days there is machinery that
does the real work.
So after excessively
testing we used telegrams
to make this
interview. Occasionally
we sent each
other images via the
teleprinter (funniest
day with the teleprinter
was, when we
sent each other all the
national flags of all
the UN-countries).
What you are about
to read is a collection
of the best telegramdialogues
that were
sent between June
15th 2007 and July 26th 2007. To enhance
readability I left out all the technical yada
yada that accompanies this technology from
the centuries that brought you trains,
Nietzsche, electricity, world war I and II,
Snickers, Ghadaffi and Dr. Who.
94
Lignano: Please give me three adjectives and
two nouns to 'Melt Banana'.
Bozkovich: great. great. greater. Favorite.
Band.
Lignano: Did you ever play a fruit at the
orchestra?
Bozkovich: No. But if I was allowed to, I
would like to play mashed potatoes.
Lignano: Are you playing a Kramer guitar?
Bozkovich: Sure. Heavy as Heavy Metal can
be (in the 80s, at least!).
Lignano: How many guitars do you have?
Bozkovich: Including the basses and the
mandolin - five.
Lignano: Was your
song "Liberia" influenced
by Michael
Jacksons "Liberian
Girl"?
Bozkovich: More by
a Liberian girl I
used to know.
Lignano: Can you
send me an image
of that Liberian girl
over the teleprinter?
Bozkovich: No, but
I can send you an
image of "Sons of southern parkness".
Lignano: There is this awesome part in "06 -
Dept. of Psychonautics/New World Order"
where you sing "I think you are brainwashed"
forever, do you have any idea what the M.
might have wanted to tell the world with
that?
Bozkovich: Actually it's "Brainwashed but
never dried" - the state of many humans
before the Dept. of Psychonautics started its
work.
Lignano: Oh, I must have misheard.

Lignano: Were you ever not allowed to enter
former Yugoslavia?
Bozkovich: I was not allowed to enter former
Yugoslavia once. That must have been in
1993. Had to go back to Budapest to get a
Visa. They didn't like Austrians and Germans
too much at that time - all of them were sent
back. The Japanese who were with us got
their visa on the spot.
Lignano: Did you play there?
Bozkovich: No, I have never been in the Anti-
Nowhere League.
Lignano: But you did play in/with Malignom,
Mandragora, Die Leber Vs. Screaming Sisters,
When Yuppies Go To Hell, Spiess und
Schwarz and Gebrüder Göd ft. Stefan Weber.
Bozkovich: Yes.
Lignano: When did Falco leave
Brachialilluminator?
Bozkovich: This must have been
when he decided to work with
Wickerl Adam.
Lignano: Are you tattooed?
Bozkovich: I don't have tattoos.
Lignano: Are there people with
Brachialilluminator-tattoos?
Bozkovich: I haven't seen any
so far. But I like the idea. I
once found a "Brachialilluminator"-song
on a "Soukuss-
International" site. So anything
can happen.
Lignano: Do you still have the
link for that site?
Bozkovich: Can't find it now. It was a Russian
site. Might have gone offline.
Lignano: Tell me more about your poem
indonesian teddy bear.
Bozkovich: It developed when I was in Indonesia
(surprise!). Actually it was three times
longer but I had to delete the most obvious
parts.
Lignano: So most of your lyrics are written
while being abroad?
95
Bozkovich: I often get inspired while being
abroad. For the rest of the lyrics, nowadays,
they are forced out. I mean, I find a topic
and then I force myself to write down my
thoughts on that topic within ten or twenty
minutes. I wrote many more lyrics in my
punk-phase. Most of them were useless,
anyway. My last lyrical inspiration in Austria
turned out to become "Hackln is fian Oasch"
["Working sucks balls"; transl. lig].
Lignano: That was on your first release 2001?
Bozkovich: First CD release - yes.
Lignano: Would you like to tour Japan?
Bozkovich: Screaming teenagers, expensive
food, drunken office people and maybe meeting
Melt Banana
or Ex-Girl or The
Ruins? No question...
Lignano: This
was actually just
a test question
whether you are
real musicians,
because all real
musicians want
to tour Japan.
Lignano: What
are the travel
plans for the next album?
Bozkovich: I suppose the next album will deal
with health. Bodily or spiritual health. Details
have still to be confirmed with the Mightiest.
If it were meant to deal with spiritual
health, it would of course become collaboration
with the Dept. of Psychonautics.
Lignano: You are singing about six departments
on "new world order", is this
all there is, departmentwise?
Bozkovich: These are the departments
that should most necessarily be known by
the citizens. Of course there are other
ones, as well. You can't run a whole "New
World Order" with only six departments.
But the Mightiest tries to keep the government
slim. Not like in (former, but it is
still known as) Malawi, where they have
54 ministers.
Lignano: Are you ready for the famous
avantgarde-metal.com word rap? Rules: I
give you one (or maximum two, or maxmaximum
three) words and you must
answer with one, maximum two or maxmaximum
three words.
Bozkovich: Shoot!
Lignano: Peter Gabriel Bozkovich: Geneses.
Games.
Lignano: Star Trek
Bozkovich: Ears. Black woman.
Lignano: Jochen Rindt
Bozkovich: Austrian!!!! Death.
Lignano: Columbo
Bozkovich: Mad magazine.

Lignano: Klaus Eberhartinger
Bozkovich: Dance star.
Lignano: Joschka Fischer
Bozkovich: Brutal youth.
Lignano: Slayer
Bozkovich: offended easily
Lignano: Loddar Matthäus
Bozkovich: -
Lignano: Los Lobos
Bozkovich: Espanol. Don't know.
Lignano: Ephraim Kishon
Bozkovich: Funny. Racist.
Lignano: Beer
Bozkovich: Great. Motörhead.
Lignano: Elvis Presley
Bozkovich: Dead.
Lignano: Fritz the cat
Bozkovich: Pornographic. Hells angels.
Lignano: Perfect!
Bozkovich: More than good.
Lignano: I assume you have seen Gwar live -
what was your preferred distance to the
stage when seeing/hearing them "perform"?
Bozkovich: About
15 meter [~15
feet] - far
enough for not
getting overrun
by the newcomers
when the
blood is spilled
the first time but
still near enough
to find it funny.
Lignano: Do you
still have cloth
with Gwarbloodstains?
Bozkovich: That's
a great joke of theirs. They sell expensive
white t-shirts for people to get them stained
during the concert. But the colour is risible...
Lignano: Did you buy one?
Bozkovich: Haha, nope.
Lignano: In what relationship stands the M.
and Gwar?
Bozkovich: I have seen a documentary on
"shock rock" once. There the Mentors told the
audience that they are real and Gwar is just
show. So I suppose, in neither.
Lignano: Is he pointing to the Mightiest?
Bozkovich: The Mightiest is really very political.
Before this interview I never thought of
him being to do with religion. No, I don't
think he cares about that stuff.
Lignano: So the M. is rather materialistic and
aural?
Bozkovich: Materialistic sure. My job is to get
the aural message done; I suppose he has
other employees for dealing with different
sensual areas. But I don't ask too many
questions.
Lignano: Who is your favourite porn star?
96
Bozkovich: If Geri
Halliwell were one, I'd
say - her.
Lignano: What is your
favourite figure in
chess?
Bozkovich: Magma.
Lignano: Huh?
Bozkovich: I am listening
to them right now.
"De Futura" from the album "Üdü Wüdü".
Predecessors of the Mightiest - or Brachialilluminator,
I'm not quite sure if they were the
masters or the means.
Lignano: Oh, those. Sorry for my lack of musical
knowledge!
Lignano: What is your favourite song by
Morrissey/The Smiths?
Bozkovich: Sorry for my lack of musical
knowledge!
Lignano: Who is your favourite author?
Bozkovich: R.A.Wilson, Crowley, Kapuscinski,
Ken saro Wiwa.
Lignano: The Unabomber?
Bozkovich: I think
that’s Kazcynski.
Lignano: Oh. True
that.
Lignano: What's your
favourite Manifesto?
Bozkovich: Probably
the Roxy Music album. Although I don't fancy
them too much...
Lignano: Do you own the well-famous vinylsampler
"Wiener Blutrausch" from 1979?
Bozkovich: Unfortunately
I only have it on
MC. I had never been
willing to pay 500-1000
(Austrian) Schillings or
more for one record.
Lignano: I think even
more...
Bozkovich: At that price I'd rather buy a car
than an album.
Lignano: Or hookers!
Bozkovich: Even better.

Lignano: What's the most offensive thing in
this picture?
Bozkovich: Offensive? I don't know. Where
do you come up with that stuff?
Lignano: Post-office-boredom. Most of the
stuff floats in the interweb. Some in my head.
This might be easier:
- Do you think he listens to Avantgarde
Metal?
Bozkovich: I think he prefers Jello Biafra.
97
Lignano: Are you aware that your domain
name brachialilluminator.com will expire at
the end of august 2007? For how much would
you sell it?
Bozkovich: I get frequently reminded by the
"domain registry of America" or what ever
the name of these suckers is. A warning to
everybody.
Lignano: Do you think that "Diplomatie ist die
Fortsetzung von Krieg mit anderen Mitteln" or
that "Krieg ist die Fortsetzung von Diplomatie
mit anderen Mitteln"?
Bozkovich: "Fußball ist die Fortsetzung von
Politik mit anderen Mitteln". Or the other way
round, can't remember. Actually there once
has been a war cause of a football match
(see Kapuscinski, Richard. The Soccer War.
Translated William Brand. London: Granta
Books, 1990).
Lignano: Why should our dear readers rush
to www.brachialilluminator.com and not to
www.niddl.com after reading this interview to
buy CD´s?
Bozkovich: Because there's gonna be a relaunch
of the Brachialilluminator site as soon
as the further projects get into shape.
Lignano: I think Niddl and Brachialilluminator
could produce great stuff as Niddlilluminator.
Bozkovich: Brachianiddluminator.
Lignano: Would you like to write a review on
a niddl CD for avantgarde-metal.com?
Bozkovich: Definitely. But I would need the
CD first.
Lignano: Pure Awesomeness! I will organise a
niddl album for you.
Bozkovich: It will be my pleasure.
~~~
The whole telegram interview (/I imitate
Bugs Bunny voice: "Remember kids, you've
seen it first here on avantgarde-metal.com!")
was a whole new working experience for me;
and please don't tell it to those boys.

ABSTRUSE
Transgressing The Veiled Substants
By aVoid
Greek duo Abstruse - now reduced by 50% -
is one of the strangest entities I've come
across so far since the genesis of this site.
Enthralled by their hallucinating singularity
and wicked cerebral compositions, I had no
other choice but to make first contact and
explore deep into the Universe that is Abstruse...
Good day to You sir(s), and thank You
very much for agreeing to do this interview.
Abstruse is for most readers - me
included - a very new name. Tell us a bit
about this entity. Which musicians does
it contain? When and where and how
and why did Abstruse begin?
Substant: Abstruse was created in 2002. I,
Substant, and Veiler were the duo on the first
unreleased demo ''Neuronal Paths’’ (2003)
and on the recent one, ''Transgression''. We
started this project as a mean to materialize
obscure, mysterious or eerie if you wish,
musical ideas, and it all happened in a suburb
of Athens. The musicians that have helped as
so far are all drummers with a specialization
to different styles of music: Kostas Daskalias
(Jazz-swing), Bill (Prog-rock, metal) and
Shapeshifter (Extreme metal). Now Veiler is
no longer involved in the project and it became
a one man band (temporarily?).
As I wrote in my review of
Transgression, you have pretty
bold ambitions. You succeed
none the less to truly transform
your ideas into music. What is
the ultimate goal of your
musicianship? What compelled
you to combine these elements
(the visuals, especially)?
Speaking for the future I would like
to explore and expand the orderbased
system that I am working on
and also -something that we started
from ''Transgression'' - to work on
the analogical relationships between
different senses such as visual to
sound combinations to odourproducing
smokes, lights etc. This
holistic approach is a part of
Abstruse's philosophy. It may also
bring to mind some works of
Kandinsky back in the 1900's. Also
the gestalt theory gives some hints
about how does this 'work'. There is
also a hope to give new air to
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breathe to these relationships by a program
(working on) that decodes motion properties
into sound properties.
You are definitely very skilled musicians.
What background do you have as musicians,
conservatories or autodidacts?
And for your visual artworks, do you
have any formal training? Tell us about
the "Secret Order" part of your website,
where the interested can find enlightenment
in the obscurity of your tonality...
(As a musician and musicology student I
found this particularly interesting.) Is
the "Majestic scale" your own invention?
Basically we are autodidacts. Although, I am
very interested in studying the 20th century
and contemporary music. Thus a minor in
music back in the university along with some
good courses and ''extracurricular'' books
really helped. For the visual part now Veiler
founded his own forms
in digital art and he is
still studying graphic
design. My specialization
back in the
university was film
studies with two senior
projects in Video Art.
Now for the secret
order part...It speaks
about.uhm..orders!
These are patterns of
intervals or motifs that
are used in Abstruse's
music and represent
different musical
characters to give a
short description.
Order also is a musical
language that counts
intervals as digits
(such as semitones)
thus departing from
conventional scores.

The most important thing about them is that
you can see very clearly the numerical relationships
of the intervals with the characters
produced and thus construct new ones by
combining their properties. Also the patterns
have an identity on their own without the
need to refer to modes or scales.
Majestic scale is the order of [1-3-2-1-3-2]
series (counting in semitones from the root
note and then from the next one). In a way
it's Abstruse' invention though to tell everything
it can be derived from the diminished
scale (half-tone, tone...), but there is an effort
for a 'tonal majestic' system that uses
hierarchical relationships between the notes
such as in major or minor systems.
Do you use all the methods of Schönberg’s
Twelve Tone System - inversions,
retrograde, etc? What other methods of
modernist composition do you use?
In reality the most 'Schoenbergian song' that
uses the techniques, including a retrograde in
vocals, is 'Avid Saith', one that was not complete
in ‘Transgression’s demo release. (It
can be heard on MySpace) Moreover 'Alliance
Optimum' or others partly have to do something
with the techniques but rather with the
not full use of the series or the rules of
Schoenberg. 'Entropy. In Order' as its title
implies is aleatoric or random music that later
was put to pieces together or ordered with a
conscious effort. The lyrics here too are what
is known as automatic writing (surrealism).
Many different orders, modes and a wholetone
coda, in 'Neuronal Forest' which has an
unmetrical rhythm and together with the
whole-tone arpeggios or [-4-2-6-] orders give
a sense of floatation... 'submerge' as the
theme opening phrase provokes.
There is also a need for new methods to be
found... Such as the new possibility of the
'float scale'. This one uses virtually every
possible frequency-sound and in order to be
systematized and thus to be functional is
taking ratios from other forms of art. For
99
example color ratios or geometrical ratios
make sound frequencies and new harmonies
are breaking into music, but this time from
outer artistic forms.
You let digitalized programmed parts of
your compositions interact with analogue
parts that are "really played";
what is the reason for this and what effect
does it have on the music? Do you
reach the desired effects?
Well, the main idea is that ''it's all an illusion''
referring to the conventional common reality.
By combining live-played drums with drummachines
or human played guitars with programmed
ones in a way that it is not easy to
comprehend (also a definition of abstruse).
What it is real and what is artificial is not
easy to distinguish and sometimes the artificial
is confused for the real one and the opposite.
But, man, what the hell does it mean
for something to be natural or artificial? I
believe that is the human intervener that
decides for that. The desired effects were
mostly reached in 'Transgression'... but for
future projects maybe other ways will be
useful.
What have the reactions been to you
rather compelling and difficult compositions?
From critics (like me), labels and
ordinary listeners? The complexity you
describe above might be hard to grasp
for someone who haven't studied musicology
at University level; how important
do you think understanding the cerebral
aspects of Abstruse is to truly enjoy your
works?
The reactions so far are varied as expected.
Some critics were very interested and made
very positive reviews and also asked for interviews
while there were a few that were
totally negative as they could not 'digest'

either our peculiar instrumentation or the
complexity of our music. So far a Greek label
was interested to distribute some stuff for
free (promotion), and labels such as Metal
Blade answered saying that 'you have some
very strong points, but the style you play is
not what we are interested right now'. I think
the problem here is to find the right label that
is willing to take more risks. We got very
good feedback from MySpace listeners, some
played songs of ours into their pages or
asked for the demo. I liked the fact that people
from different backgrounds grasped our
music.
Now about the complexity of the music I believe
that it is well balanced between straight
riffs to more chaotic ones in a way that is not
demanding for the ordinary listener. This is
also strengthened by the fact that most of
the people gave attention to the mood that is
created and not so much to the techniques or
the forms. Though many songs have to be
heard several times to be 'absorbed' and
maybe celebrated.
Both you and Veiler were in a band
called SHADES OF DARKNESS. What became
of it? Do you have any projects
(music or other arts) beside Abstruse
that one should be aware of?
100
This is a funny story from our teenage years.
Back then we have formed a band with another
guy that knew me and Veiler, and we
got to know each other from him. We realized
that we had similar views then, by having
black metal influences at that period and by
preferring dark melodies. Thus, we started
something that would produce only one written
song, not very aptly named:
D.U.C.O.T.O.C. (dark underground cells of
tormention of Christians). These teen age
years... I remember them and they seem so
fucking funny with their naive ness and their
primitive expression of opposition. Veiler has
his own project band under his name and I
have a project that is intended to be more
psychedelic: 'The Netherealm' (yes, some
diminished influences are actually from Mortal
Kombat!). Also, I do research in the Media
Technology field for finding new ways of artistic
expression or combinations of different
already established forms.
What general musical background do
you have - did you pick up a guitar as a
teenager playing metal riffs, later to discover
the magnificence of the last two
centuries of art music? Or the other way
around?
As a teenager I was more into the dark metal
stuff, so I bought a BC Rich Warlock guitar, I
plugged it into the amp and started playing
whatever was coming out of my head, trying
to play as many different fret combinations
that I could imagine. We both though never
tried to make a cover or learn big parts from
other bands in the genre. Maybe there was so
much a need for a personal expression. After
the narrow teenage years passed, new musical
horizons opened: electronic music, 20th
century classical and contemporary, flamenco
and whatever seemed to cling to Abstruse
was taken in a thorough account. The need
for creating personal means of expression
and ones own associations indeed was
strengthened by these influences, too.
What subjects do your lyrics touch? How
do they relate to the name of the band
(a pretty uncommon word synonymous
with, correct me if I'm wrong, "obscure"
or "hidden") and the overall theme of
your creations? Does the visuals relate
to the general mood or message of the
songs?
Basically Abstruse' lyrics are united by a concept
that will always be there: The need of
finding these weapons that will release the
human animal from its bounds. Several styles
of writing to produce that are used, as humans
use different forms of writing to express
their entities. Scientific writing for clarity
and method, symbols to bring on relations

from their unconscious, surreal automated
writing and bizarre cohesions and raw angry
words filled with the desire to wake up as the
value of freedom is one's consecutive alertness.
Sometimes coded words are used to
force someone to study the hidden relations
between these phenomenally unrelated literary
worlds. Everything is related to that in
Abstruse' concept: photos, visuals and any
means of the human experience, to present
that reality is not one single picture but has
many different shades. And there are shades
that are yet unknown to us, beyond the limits
of a sleeping-decepted consciousness.
What's up with the scorpions?
I believe you don't mean the band right? Ha!
Ha! OK. There is a song on 'Transgression'
which is called 'Brontoscorpion' and it belongs
to Veiler. By regarding his very interest in the
Evolution theory, this song is a symbol of
power and by using the magnificent characteristics
of this ancient monster. That it’s
'seeds strive till nowadays', the symbolism is
accented more.
101
What does the future hold for Abstruse?
Releasing albums, staying independent
and underground... live performances? I
can see how the latter would be quite a
spectacle, given you holistic views on
your art (no sense left untouched!).
Several concepts are planned for the future.
There is a chance that this will be under a
new name but if this happens it will be announced
under the Abstruse MySpace. Would
like to stay underground but under a sympathetic
label and the live is of course a very
seducing option (as already some festivals
wanted to include Abstruse in their program),
but is one that has to be considered after all
previous issues are resolved.
I hope everything works your and Abstruse's
way. Thank you a thousand
times for this very interesting interview.
Stay bizarre, to the Death!

RETROSPECTION 2007
For summaries and conclusions there’s no better time than the cold month of December. It is also
the half-birthday of the Avantgarde-Metal website. This panoramic survey's aim is to bring in mind
again the albums and events of the passing year. Maybe we feel the absence of a homogenous line,
when judging and defining this year's musical products. After all we had newcomers and veteran
bands from other 'scenes' that came into second being with the element of surprise. We also had
veteran bands of the so-called underground that conquered us once again.
In some way, the yield is eclectic. Of course, maybe it's too hasty to crown this musical-inspired
gathering as a 'sub-genre' or 'scene', as confirmed in the ongoing debate on our website’s forum.
Where the substance of the new albums is coming from, lies in the eyes of the beholder / definer /
musicologist. It is quite impossible to find an agreement about what avant-garde metal is. We are
in an environment which leans on definitions of all sorts. A consensus about albums is impossible.
Yet, we can point to some key albums that were most important for our website’s participants.
In spite of that, many of this year's albums (and the ones that I've lend my ears to, in a personal
perspective) can be characterized by innovativeness and also by the lack of it. Valor is the rooftop
of the musical acts – and it is the heart and mind of this website.
On the subject of people's choices, we can track down several names which reappear over and over
again. The quite-new and much anticipated grandmaster ULVER’s "Shadows of the Sun", together
with another anticipated album of their maniac neighbors DÖDHEIMSGARD - "Supervillain Outcast".
Unlike the metallic sharpness of DHG, Ulver represent a group of bands that are “metal-havebeens",
but still manage to win over the “scene". Bands like ELEND and their absolute masterpiece
"A World in their Screams" or THEE MALDOROR COLLECTIVE with "Pilot" reflect the very unique
blend of innovativeness and valor that I was talking about. What about bands like SLEEPYTIME
GORILLA MUSEUM and "In Glorious Times" or MANES' "How the World Came to an End", with
lighter metallic edges, but oh-so-very innovative minds? Art-metal jive continues with HELLA's
"There's no 666 in outer space".
In this 'scene', all is all. And indeed, we had much of it this time around: from the blackish depths
rose two ancient, yet shaped anew giants – MAYHEM and ABIGOR. The first, tackling avant-garde
borders some years ago, came back with a creation so deep and profound. It is avant-garde by
itself. However, a very interesting album belongs to Abigor – a resurrection with new skin. "Fractal
Possession" stroke many of the followers in amazement, breaking all known and unknown borders
that were indeed a blast from the past. Moreover, the mysterious French duo DEATHSPELL OMEGA
reached hazy and harsh dimensions with the new epos, "Fas - Ite, Maledicti, In Ignem Aeternvm".
Other bands with black roots are SIGH that delivers us the great "Hangman's Hymn" and BLUT AUS
NORD with their "Odinist".
From nearby borders of more traditional-craved metal genres, creations like BERGRAVEN's "Dödsvisioner"
and Swedish SHINING's "Halmstad" shook a little bit the acceptable avant-garde metal
definitions. They are crafted with deep and bare emotions, sometimes more than the average
metal-listener can tolerate.
One can also find a fair amount of debut albums and other continuance releases, hailing from new
and less-fresh bands. Starting with "The Green Walls" of BLACK ALBATROSS, Luxembourg's LE
GRAND GUIGNOL with "The Great Maddening", the “Pelopia” EP from operatic Finns ABERRANT
VASCULAR and the MCD "Nova Persei" from the French black-dreamers SMOHALLA.
In a sad manner, this year two unique bands come to their ends – French wackos CARNIVAL IN
COAL and Hungary's GIRE (who released their debut earlier this year). It'll definitely be interesting
to meet those band's refugees in other musical frames. Meanwhile, we still have audible memories.
On account of all this, I reckon that 2007 was a hell of a year. Oh, and if I missed anyone, I deeply
apologize – keeping all in mind isn't so easy.
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Jobst

TOP 10
AVANT-GARDE METAL ALBUMS 2007
The year 2007 is almost completed. So we asked you, our honourable readers, to tell us
what impressed you most this year. An overwhelming amount of answers came in. So
thanks a lot to everybody who has sent us a list with your five favourite avant-garde
metal albums of 2007!
Each mentioning of an album has been given one point. These points were summed up to
your overall ranking. And here are the final results:
01. DøDHEIMSGARD - Supervillain Outcast
02. ABIGOR - Fractal Possession
03. ULVER - Shadows Of The Sun
04. MAYHEM - Ordo Ad Chao
05. BERGRAVEN – Dödsvisioner
06. SIGH - Hangman´s Hymn
07. SLEEPYTIME GORILLA MUSEUM - In Glorious Times
08. MANES - How The World Came To An End
09. DEATHSPELL OMEGA - Fas - Ite, Maledicti, In Ignem Aeternvm
10. UNEXPECT - In A Flesh Aquarium
On the top of the list there’s no surprise. ABIGOR and DøDHEIMSGARD are leading headto-head
with a big distance to the rest of the field. For a long time it seemed that Abigor
would win the race. But in the very end Dodheimsgard overtook them and landed on the
peak.
Astonishment arose about the third place. Ex avant-garde metal grand signors ULVER
manage the legerdemain of reaching this high position although their masterpiece
“Shadows of the Sun” doesn’t contain any metal elements at all. That’s really avantgarde!
And the second surprise is UNEXPECT on position 10…because this album already
has been released in August 2006. So it really seems to impress you a lot.
We also would like to congratulate BERGRAVEN for shooting up to position 5 with their
debut album “Dödsvisioner”. This promises much for the future.
So thanks a lot once more to everybody who participated in this ranking! And here your
favourite albums are again in the music of words:
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DøDHEIMSGARD - Supervillain
Outcast
(Moonfog, 2007 – Norway)
Avantgenre: Supervillain Metal (Of Course!)
This album only lost a pubic hair's width to being
my favourite release in 2007 to ABIGOR's "Fractal
Possession". Now, I could going on why this is so
and what "Fractal Possession" has what "Supervillain
Outcast" has not, but that would be unfair to
this ambitioned, refreshing record which announces
DØDHEIMSGARD's return after a long absence. And
how they return: "Supervillain Outcast" is a weird,
strange soundtrack to all perversions, abominations,
anomalities; to everything disgusting, sick,
and twisted the 21st century has to offer.
While on "666 International" DØDHEIMSGARD's
new style was something which did not quite went
together well in my opinion (that is, the cold technical
Black Metal with industrial elements), DØD-
HEIMSGARD seem to have found the perfect way
to put everything (and more) together to make it
whole. "The Vile Delinquents" for example starts
with heavy riffing, only to explode into an ultra-fast
blastbeat with shredding guitars, catching breath in
one of DØDHEIMSGARD's typical, groovy midtempo
beats and ends in a blast-inferno; vocalist
Kvohst spitting pure hate the whole song, sounding
as if he would turn his throat inside-out to scream
out what he has to. The next song, "Unaltered
Beast"- weird beats, supported by rythmic guitars,
strange electronic machine choirs and industrial
elements. There is "Chrome Balaclava", an acapella
choir song. "Ghostforce Soul Constrictor",
straight Black Metal with a nearly danceable rhytmical
intermezzo. "The Snuff Dreams Are Made Of",
the second regular song surprises with a clearly
arabian touch, introducing an instrument I do not
know the name of but which has to be some kind
of an arabian flute... "All Is Not Self", a calm, melodic
song with clean vocals not unlike to what
Kvohst did in . Melodies are mainly in the
background, more supporting the drums and leaving
room for the uncountable other instruments,
soundscapes and effects which make this album
sound like some hatefueled drug-trip.
Nearly everyone should have guessed by now that
the days of true Black Metal like on "Kronet Til
Konge" are over for DØDHEIMSGARD, and for good.
I do like good ol' Black Metal the way it should be,
but even this narrow- minded (or maybe...) genre
has arrived in the 21st century, as hordes like
ABIGOR, MAYHEM, ABORYM, SECRETS OF THE
MOON or DØDHEIMSGARD have proven successfully.
And DØDHEIMSGARD have set a high stan-
104
dard for the next releases labeled as this "modern"
style of Black Metal, that's for sure. If you like it
straight, old school and raw, do yourself a favour
and do NOT listen to this.
Tentakel P.
ABIGOR - Fractal Possession
(End All Life Productions, 2007 - Austria)
Avantgenre: Satan´s Technical Department
"The music of ABIGOR is a weapon and shall haunt
all those who try to discover something beautiful in
it!" This statement is found on the "Nachthymnen"-
Album; taking them literally I'll try to convert most
of their outputs so far into- weapons. Here I go.
Verwüstung / Invoke the Dark Age: A spiked club
Orkblut - The Retaliation: Same as above
Nachthymnen: A sharp falchion
Opus IV: A rusty bastard sword
Apokalypse: A war hammer
Supreme Immortal Art: A pike
Channeling the Quintessence of Satan: A guillotine
Satanized: Absorbent cotton with chloroform
Fractal Possession: ?
Yes, finally it has arrived. A new ABIGOR- Album. I
thought Reunions were only for members of aged
norwegian Black-Metal Bands fearing to sink into
oblivion, and I am glad I was wrong there. You
can't speak of austrian BM without mentioning
ABIGOR, and with this album they have proven
that once again. I do not think that it is necessary
to waste words on ABIGOR's biography here, for 1)
it should be known to most of the metal scene
anyway and 2) for the unlucky individuals that
have missed this band so far may check the link to
their site above.
First, let's set things straight : This album has by
far the best sound of all their albums and can easily
withstand international competition as well.
Everything is clearly audible; from the eerie guitars
to the once again hammering drums to the new
singer to the fitting embedded soundeffects.
Speaking of soundeffects: there are plenty of them
here, and sometimes it's hard to tell if it is a real
effect or some freaky guitar sound. Oh, and Thomas
Tannenberger has returned to the drumchair
of ABIGOR where he belongs. I don't think one has
to argue about the skills of Moritz Neuner, who has
played drums on "Satanized", but at least I had the
feeling that his style did not fit ABIGOR too well.
Now, hearing Thomas on this album there can be
no doubt that his style is exactly what ABIGOR

needs. This guy was and is simply one of the most
groovy, tightest and most dynamic Black-Metal
drummers, period. And the new singer A.R. takes
ABIGORS vocals to a new level: Mostly snarling like
MAYHEM's Attila, this guy manages clear, spoken
passages as well as growling and screaming.
The songs: A perfect symbiosis of the last two
albums. The cold, precise riffing of "Channeling...";
combined with the strangeness of "Satanized". A
good balance of infernal blasts, technical parts, and
slow, melodic parts. Although you can't really compare
ABIGOR to them, the created atmosphere is
not unlike the last two MAYHEM- outputs, to give
you at least a diffuse picture. I'd have a hard time
which songs I would recommend to listen to, each
one is unique but bears enough elements to recognize
ABIGOR. My personal favourites are "Liberty
Rises A Diagonal Flame" which brings up nostalgic
memories of glorious "Nachthymnen"- days and
"The Fire Syndrome" which, with an eerie, aggressive
atmosphere, opens gates to demonplains
somewhere beyond the stars and briefly, riffwise,
mentions "Opus IV" (as does the start of "Injection
Satan").
ABIGOR have topped themselves here, easily
achieving top grades in creativity and innovation.
The songs are unbelievable complex and at the
same time straight; there is a huge amount of
breaks, effects and samples involved, but what
sounds like too much works out fine in the end. So,
what weapon is "Fractal Possession"? I can't get
the picture of a machine-armed with surgeon scalpells
and killing with deadly precision- out of my
head somehow...
ULVER - Shadows Of The Sun
(Jester Records, 2007 – Norway)
Avantgenre: Sad Aurora Sublime
Tentakel P.
Soon after the release of the wildly colourful and
adventurous Blood Inside, a record with which
Ulver, it seems, unleashed all of their aural quirkiness
through many shifting cut-up, eccentric postrock
big band styles, silence came haunting us
once again. What were they doing? Where would
they go? Pro-evolutionist gentlemen Rygg, Sværen
and Ylwizaker kept their growing new piece of art
as secret as most natural arcanes; and then, not
only have they invited along the way an Oslo String
Quartet, a very talented trumpetist, a feedback
guitar player, but also got on board none other
than Christian Fennesz and Pamelia Kurstin respectively
playing supplemental shimmer and theremin.
105
With such a diverse and impressive crew, everything
was possibly imaginable!
Now to the music. Well, Shadows Of The Sun is
pure beauty and sadness enveloped in their most
exquisite aural expressions. The whole album is a
floating and etheric experience in itself, and a very
delicate one at that, where you are invited to contemplate
your own emotions being transformed
into sound pixels. Stylistically, there are some of
the most honest ambient tracks Ulver have ever
composed; for example, once you drown yourself
deep into both Eos and Funebre, two of my favorite
cuts here, it is hard not to get fascinated by the
obscure, almost aquatic and submerging overall
feeling at play. More beat-oriented parts also are
present now and then throughout the record, and
with a natural, acoustic drum sound, they somehow
display cool, laid-back jazzy patterns as a
backing-up for the more romantic, shadowy moments.
At first, it may appear that Ulver have simply gone
back to the more glitches and epic eras of their
glorious past, but I don't think that back then,
firstly - so much attention was given to sonic details,
and secondly - neither was the atmosphere as
sombre and deep as this. Indeed, as in everything
else, experience allows you to go further and that's
certainly what Ulver are doing with Shadows Of
The Sun. To me, they are now up there with the
masters of the piano-ambient genre, including
inspiring artists such as the Fennesz & Sakamoto
collaboration, Elegy, Machinefabriek and Circle
(Miljard era).
Only to give you an idea: microscopic particles are
painting the smallest corners of the sound-picture,
heartbreaking piano melodies subtly evolve around,
Rygg's vocals are bass-heavy enough to sometimes
leave a warm droning side-effect, drums are
splashing against symphonic cuddles... I would say
it takes a couple of listening sessions before the
whole thing reveals itself to you. The textures are
so rich, so involving, so warm in sound that they
keep a perfect balance between the acoustic instruments
versus the machine drones, and that
must have been one of the hardest challenges to
go through, while giving form to such a "complete"
record. Even a certain pop sensibility comes out of
a few songs, but never in a cheesy way - this music
is for sure honestly sad and beautiful, whereas
it's not melodramatic and candy-pink at all. For
example, they're covering Black Sabbath's Solitude
and turn it into a most sensitive sweetness that I
can't get enough of - my future is shrouded in dark
wilderness - so sensual...
Even though she's playing on only two songs, a
special mention has to be made about thereminist
Pamelia Kurstin, because she seriously creates
amazingly flowing and real emotive passages - and
I can only wish Ulver would have used her talent a
little bit more. As a whole, the album, just like its
cover representation, is one reflective, symphograndiose
dusky affair, and the more I listen to it,
the more it sends bio-vibrations down my primary
and secondary peristaltic waveguts. Now how's
that even only possible?
Olivier Côté

MAYHEM - Ordo Ad Chao
(Season Of Mist, 2007 – Norway / Hungary)
Avantgenre: Abysmally Surging Blackest
Metal Of Truest DEATH
A whirling shapeless thing, clawing at you from the
deepest pits and abysses of the human soul and
the voids outside of our understanding… Scorched
black tentacles with chainsaws attached shredding
your mind… Dissonant chords strung over chaotic,
aimless riffs, devoid of any kind of normal progression
or musical shape... The hellhammers float
around, disjointed rolls abruptly cutting off the
crackling rumbling beats… (nowhere to be found is
the trademark Hellhammer sound, fortunately, the
percussion sound surprisingly acoustic.)
The prodigal son Attila is the deranged scientist/sorcerer,
who gazed a bit too long into the
Abyss, seeing too many unspeakable things therein
to regain his sanity… Tormented shouts turning
into maddened laughter… From barytone proclamations
of impending doom to ghastly inhuman
squeals and howls to the deepest chants and
growls from the maw of Nihil… Voices speaking of
humankinds littleness against the forces of the
universe; apocalyptic magick spells and mythological
chaos-salutations... Praising the fall of civilisation
in anti-religious misanthropy and exhaustion of
grief and wrath... The guitarwork may be fierce
and menacing, but this creation is still thoroughly
vibrating with melancholy; like a saddened deity
longing for warmth and understanding, only able to
spread disease, turmoil and strife to the world in its
desperation.
After the clinical sound of its most recent predecessors,
Ordo Ad Chao is draped in a filthy damp production,
which may deter some listeners. To me,
this is preferable, the production (by Mr. Knut
Valle) forcing you to really listen and fall into the
music. Not easily accesible, as extreme metal
should be. For the first time in over ten years, can
the Blasphemer step out of the ominous shadow
that is the legacy of Euronymus; Ordo Ad Chao is a
darkness so complete and possessed that it can
compete with the swansong of the Prince of Darkness
and Death. For the first time in many years
can Mayhem truly claim their name and title. This
is nothing but the True Mayhem.
aVoid
The anticipated and well publicized album harkening
the return of Attila as the voice of Mayhem.
Now although this is a band that firmly resides
within the realm of Black Metal as oppossed to
avantgarde, this is an album that takes a step in
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every direction. Where Chimera (previous album)
was a more straight forward (comparatively speaking)
Norwegian styled Black Metal release, the
aptly titled Ordo ad Chao could very well reside on
the other end of the spectrum from its predecessor.
What Chimera lacked in spirit and individualism,
Ordo ad Chao makes up for with sheer daring and
reckless abandon.
The song structures and overall writing are audacious
indeed, sounding like the members locked
themselves in a room with their favorite hallucinogen,
hit the record button, then played and wrote it
all at once. Like a roller coaster to hell it dives and
ascends with use of numerous stops and starts
within many of the songs and no chorus' or conventional
writing. It does not play like a collection
of singular songs but more like one song split into
parts, and when listening to the album on repeat it
is sometimes hard to know which track you are on.
It compiles aspects of the chaotic movement and
technical prowess of Grand Declaration and fuses it
with a kind of free flowing playing style, wrapped
within the atmosphere and darkness of De Mysteriis.
It is an evolutionary step forward into the
primordial ooze from where they came. If the universe
collapsed again and then a new earth formed
this would be the soundtrack of such a neo-sphere.
With Atilla back make no mistake this is not, as
some may have hoped for, a repeat performance, a
De Mysteriis Prt II. Atilla's voice is of course a
trademark but on this album he brings more than
that to the proverbial table. At times psychotic but
always dynamic and dark, this is his Oscar performance
as the narrator for Chaos. This is also a
personae embraced in a live setting as his stage
performance seems to be a perfect compliment to
the chaotic insanity of the music.
The drumming is as expected from a drummer with
a resume such as Hellhammer. His timing is tight
but the playing is almost loose, more like a jam
session than a studio recording. On his forum he
stated that the drums are all natural except for the
bass drum which had to be triggered in order to
have the clarity when going 300 bpm (you read
that right). It's no wonder that the American tour
was cancelled due to his inability to perform, cause
no one else could have done it.
Apparently the bass was recorded by guitarist
Blasphemer ostensibly in order to see his complete
vision to fruition.
Now although a phenomenally written and performed
album understandably some may be taken
aback by the production and its very low muddled
sound. That is to say that the mixing of the album
is great but that the CD does not sound as if it was
mastered, or at least not very well. So one can
either enjoy it as it is presented, or turn the treble
up on your listening format of choice, or download
a music editing program and turn up the treble on
each individual track and then burn your newly remastered
CD. Whichever method you choose this is
a piece that dares you to take a step within and
requires above all an open mind, a dark room, and
if necessary, a mental enhancement of choice.
MvH

BERGRAVEN - Dödsvisioner
(Hydra Head Records, 2007 – Sweden)
Avantgenre: Dante's Cold Inferno
When one begins his departure towards death, this
journey is bound to open in deep silence, of reckonings
to come. Cleaning mind and soul is highly
necessary before diving into this faraway yet incredibly
close realm. In this manner opens one of
the best albums I've lend my ears to this year.
First of all I'd like to stress out the point that this
album isn’t "proper" avantgarde. It's original
among the elusive genre called "dark metal". Alas,
one can try hard to stuck the avantgarde needle
and come with dry hands, yet declare that what
counts in this case are the feelings the music
leaves behind. The borders Bergraven's music
crosses on and off are not so common as one
might think. I tend to believe that albums like
these are not so common, when the music clings to
the heart and refuses to go, when it begs for life –
the listener's life. This music is located in the wide
term of a man's creation, that dares to be deep,
sometimes deep like one sees in it the first times of
revealing music.
"Dödsvisioner" ("Visions of death" – thanks to
aVoid for the translations) is an excellent example
of the dark metal genre – drizzling from some elite
genres into an ice-cold mélange. Instead of rat's
eyes, there's mid-tempo doom metal. Bat's wings
are removed to the benefit of Swedish black metal
aesthetics, preferring melodies over irrational
speed. Bergraven, as I see it, is a part of a group
of metal acts (who nourish on the weak definition
of 'dark metal') such as Shining, Forgotten Tomb or
even Void of Silence, who imbibe their main point
from the monumental Katatonia album "Brave
murder day". Bergraven is not different according
to the experience of carving unforgettable emotions
within few songs. Also song structures and
distortion settings go as far as this peak of metal.
The first glance into the second album of the oneman
act of Pär Gustafsson is located at the cover.
This meticulous and elegant photograph gives an
adequate shade to the world introduced throughout
the music – a gothic and gloomy hall with closed
doors. In a quick gaze one can almost miss a person
(of unknown gender) lying on its back, its spirit
already gone underneath the soil. On the left side,
there's a man peeking, one cannot tell if it’s a
painting on the wall or the inspector of the underworld
domain assuring departure. This is the very
start of a deathly journey.
The opening track, "Döende" ("dying"), is a real
spirit-blower. After the silent beginning hazy voices
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burst slowly out of nowhere, under the listener's
feet, standing on a firm soil, underneath lays only
netherworld. When the music comes forth, after
almost three minutes of serenity killer silence, the
listener finds out that all this exposition was actually
an elevator. He's already deep down. The
fleshy guitars bite, with them come synths in the
costume of bells. As the name implores this is the
ultimate dying experience according to Bergraven.
From this moment on the listener becomes Dante,
soaring over different netherworld rooms, all with
the same texture based on the beautiful combination
between the rough distortion and the clean
strumming, and giving right away the creeping
shuddering. And yet, each room is another vision
of the same phenomena. The clean guitars, hauntingly
hurting, illustrate the void, this absolute vacuum
of the underworld domain. Simultaneously,
the distorted angry guitars remind that in the same
domain there isn’t necessarily blood, fire and sulfur
feasts, but loneliness and stagnation. Basing on the
genre outfits, the combination 'clean-harsh' isn’t
that overwhelming with surprises. However, Bergraven
manage to load unto this much clever riffs
and movements, keeping the songs with lack of
boredom and moreover, high chills.
Another enthralled song is "Ondkall", tearing apart
the 'clean-harsh' duo and zigzagging between
these torn entities, eloquently speaking the language
of the dead. The utter zenith of the song is
at the last minute, when a shivering yet ordinary
solo hits a clean riff, struggling over with a sneaky
bass line, showing once again that the "heaviness"
on which we fed isn't all distortion grounds. This
plain solo is spine-tingling and terrifying with its
simplicity. It surely left its mark on me. This is no
peak of innovation, but god-darn-it, this is so
touching and exciting. This is everything I need:
emotion and atmosphere, smart musicianship with
a twist and the ever-rare ability to leave a taste for
more.
This is an album of long songs (accept the second
one, a short instrumental track), curving through
themselves, jumping from softness to harshness
and vice-versa, from a bewitching melody to another.
The production is tight – every instrument
gets maximum resonance and only Pär's voice is
coming into being every song anew, may it be as
its spearhead or as it’s a second trumpet for the
guitars. In between barrages of sad guitars, piercing
through long ambience sequels, echo this
bluntly gentleness and become a pause from the
netherworld journey – there are benches for resting
along the troubled way.
Bergraven outline his death cycle – the first song
keeps mid-tempo throughout its end and becomes
slow until fading out in the last song, "Döende (an
Avslutning)" ("dying (an ending)"), saying all begins
and ends (of course) in death. This track is a
proper ending for the album, a snail-slow and
treading echo of the beginning, setting fire to cold
flames. In this sounds crawling, the album dies into
the silence after, of the listener yet again breathing
deep inside and his searching eyes – what now?
For me, it's quite easy – I'm clicking the "repeat"
button.
Jobst

SIGH - Hangman´s Hymn
(Osmose Productions, 2007 – Japan)
Avantgenre: Mirror Avantgarde
I am going to spoil my own punchline this time by
telling you why I label this release “Mirror Avantgarde”:
Because it is not Avantgarde. And by that,
it is so much Avantgarde it hurts. Why is that? If
you have a bunch of Avantgarde-bands, and one of
these bands decides to leave Avantgarde behind,
to become (or to return to something) straighter
and simpler, this band does something that the
other bands do not. And that pushes it avant the
garde of Avantgarde. Understood? No? Well, me
neither. But what I do understand is, that SIGH
have delivered their most straightforward, their
less experimental, their (maybe) simplest album
yet. Luckily it is not, by far not, their worst.
Bad tongues (may they forever suffer in heaven)
allege SIGH to be just a japanese CRADLE OF
FILTH-clone. Although it would seem that these
foul-mouths haven´t heard anything else from
SIGH, I can see why someone thinks that way. Not
unlike COF with their last album, SIGH have returned
to their very roots - pure Heavy Metal.
You´ll find riffs on “Hangman´s Hymn” that could
have easily managed their way onto an IRON
MAIDEN-album (listen to “In Devil's Arms” to see
what I mean). Another band comes to mind if I had
to compare SIGH´s latest album to something, and
that is THERION (from which they have “borrowed”
a riff, undoubtedly - compare the beginning of
“Inked in Blood” to THERION´s “Wine of Aluqah”
from “Vovin”).
Due to the nature of this album (which was meant
to represent a hommage to german opera composers
of the romantic era) you will find choirs and
orchestration, the other side of the coin that is
“Hangman´s hymn”. Straightforward Metal and
classic composers - a mix which makes this album
sound epic and devastating. The new drummer
Junichi Harashima (Satoshi Fujinami has taken
over the bass) adds a more aggressive and faster
note to SIGH than ever before (his blastbeats get
near the 200 bpm-mark, which is not exactly fast
when compared to some swedish blast-orgies, but
which is pushing the monumental compositions
forward), although he refrains from doing more
than the standard 4/4 Thrash pattern as much as
the previous drummer did.
Though I was a bit disappointed by hardly getting
any experimental parts on “Hangman´s Hymn” this
time, especially after the ingenious “Gallows Gallery”;
after a few rotations
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I didn´t care anymore. Great orchestrated and
composed Heavy Metal with Mirai´s unmistakeable
voice, catchy melodies with an aura of grandeur
and the new (female) member Mikannibal on sax
and backing vocals is enough for me to put
“Hangman´s Hymn” into my top five for this year.
Just keep in mind, if you are looking for something
overly experimental and avantgardish, maybe this
time you should look another way.
P.S.: In case anyone wonders why I list SIGH in
“Top 5 albums beyond the border 2007” and not in
“Top 5 avant-garde metal albums 2007” - that is
how I feel “Hangman´s Hymn” should be placed.
Yet this was often labeled as Avantgarde elsewhere,
so we decided to put it up as such. For this album
somewhere between Avantgarde/not Avantgarde I
suggest that everyone should judge for him/herself.
But then it always comes down to that, doesn’t it?
Tentakel P.
SLEEPYTIME GORILLA MUSEUM -
In Glorious Times
(The End Records, 2007 – USA)
Avantgenre: Grim Street Theater
"In Glorious Times" churns, slithers, and grinds its
way through a psychotic array of moods and
sounds, with songs ranging from anguished paranoia
to grimly amusing misanthropy. The experimental
rock/metal collective Sleepytime Gorilla
Museum carved out a niche over the years playing
extremely heavy and spastic hard rock and metal
with a vaguely jazzy dissonance straight out of
Henry Cow and the Art Bears. Here, they're a little
more spacious: less dense, more textured than
bludgeoning.
The songwriting is still unpredictable- torchy pop
next to rattling percussive passages, death metal
violence riding shotgun with noise rock, found
sounds and morbid violin solos hovering over jagged
RIO rhythms, swinging New Orleans dirges
paired with groove metal breakdowns by way of
Primus and Meshuggah- but the overall thrust is a
little more accessible than prior work, more melodic
and less heavy handed. As in the past, the
whole band contributes vocals, percussion, and fret
time on an array of specialized instruments, making
it a team effort, with communal composition
and performance taking center stage and all emphasis
on workmanship.
As usual, the overriding tone of the work is grim
and morbid, indigenous American Gothic with a

shade of forlorn immigrant misery, a kind of re
imagining of 19th urban malaise for the age of
gentrification. With a more diverse array of moods
and a crystal clear production, "In Glorious Times"
is a good introduction point for anyone interested
in exploring this band's strangely quixotic sound.
James Slone
MANES - How The World Came To
An End
(Candlelight Records, 2007 – Norway)
Avantgenre: Dark Triphiphop
Nobody wants the truth. Imagine a dark cave
where water runs down the walls and the neon
light reflects some people doing weird things on
weird electric machinery including a Commodore
64 (or 128) equiped with a Final Cartridge, digital
Super 8 projectors and gadgetery like that. Image
there's no people but Manes in their cave. Imagine
there were no wars. Imagine John Lennon posing
for Nike and doing photoshoots in the central park,
posing with his exclusive John-Lennon-Ipod (see
figure 1) and talking about yoda, yo-yos, generals,
generals in wars and wars in general.
Imagine a world full of sounds that were produced
by Manes exclusivly. Nobody wants the truth.
Imagine crossing the street, where the street lights
inform the pedestrian with spanish children tunes
and when a car breaks it sounds like a hammer
that is dropped onto a pillow. Imagine a world full
of images that were produced by Manes exclusivly.
Imagine crossing the street where there are no
zebra crossings but real zebras fixed to the traffic
light post, cars that don't look like cars but srac
and drive backwards. Imagine there was no song
called 'imagine'.
The beeps in #5 at ~3:00 are the greatest beeps I
heard in a long time. One of the dreams of a reviewer
is that one of his sentences is used by the
record company in an ad for the album, similarly to
those weird slogans at the end of movie previews,
you know the "Remarkable. Boldly great. The New
York Times." So I will try my best to find some
slogans for this album that can be used by their
label for advertising:
"This is the 'Srgt. Pepper' of the 21st century.",
"Good. Better. Manes.", "This is sex for the ear.",
"Iresistible. Without the spelling mistakes.", "Beyond
beyondness.", "If we had 2005 one would
think we had 2007.", "Imagine nobody wants the
truth."
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Jonny Lignano
DEATHSPELL OMEGA - Fas - Ite,
Maledicti, In Ignem Aeternvm
(Norma Evangelium Diaboli, 2007 – France/
Finland)
Avantgenre: Sophisticated Black Metal Art
This album has been in my possession for a mere
week, and I am the first to admit that this review is
premature. A complexity like this need months of
digestion before realization of it's immensity is
complete. But I must write this.
This is the second part of Deathspell Omega's unspeakable
trinity, beginning in 2004 with masterpiece
Si Monumentum Requires, Circumspice, followed
by appendices Kénôse, "Mass Grave Aesthetics"
and "Diabolus Absconditus" (the latter two
songs from split releases). Roughly translated (my
Latin skills are puerile and laughable at best), the
title means "The Divine Order - Thus Cursed, in
Eternal Flames/Forever Burning". The chaos of the
forerunners is here taken to a new level of extremity
unheard; the sulphuric violence is breathtaking.
These French diabolists have opened a gate, and
through it came a satanic Beast screaming and
throbbing, in spite and fury spastically clawing and
tearing at the light. Then, as it's abysmal seizures
have ended, a calm besetts your mind, letting you
breath and contemplate upon the aural rape you
just suffered. Deep in the ambient silence, a choir
and it's orchestra is silently incinerated... listen
closely, and hear the beast breath... It awakens,
dances with you, mid-pacing through disharmonic
ballrooms in the deepest circles of Hell, in disjointed
improvisations... Only to plunge back into
rabiate madness, raping you over and over again,
tearing your flesh and soul into shreds and dust.

Fas tells of how mankind is doomed to Perdition
and Damnation from the beginning, and it is much
more personal and poetic than it's disputational
precursors. Mikko Aspa's sore growls sound older
and harsher than before, and yes, the Lord of all
Perdition and Madness is truly speaking through
him, as He is working through the always so obscure
musicians. They are truly possessed, and
"evil" satanists like Watain are but a candle in
sunshine to these orthodox theologists. The music,
in it's compositional trinity, is more complex than
ever, tonally and rhythmically closer to Alfred
Schnittke, Ved Buens Ende and Gorguts than Darkthrone.
In this flurry of blastbeats, orchestral samples
and disruptive dissonances there is a profound
darkness I cannot describe. It must not only be
heard, but felt and realized. This is more than
metal, whatever prefix you choose. This is art.
Note: The official translation of 'Fas: Ite, ...' is "By
divine law, go, you cursed, into the eternal fire!". I
wasn't that far off. (aV., 2007-09-17)
aVoid
UNEXPECT - In A Flesh Aquarium
(The End Records, 2006 – Canada)
Avantgenre: Hyper-technical Metal Gang
Bang
In A Flesh Aquarium, the most emblematic album
of the seven-piece musical, theatrical avant-garde
group named unexpecT came out last year. The
music of these freaks cannot be compared to any
other band. It is "coreless" - meaning that there
isn't a main musical style. Considering that they
mixed at least 15! different musical styles together
on their infamous 2006 album, the "corelessness"
isn't surprising, but the music is.
These weirdos manage to blend black metal with
tango, death metal with jazz, circus music with
ambient, medieval music with trip-hop. They have
three vocalists who are able to sing, growl, shout in
super wide ranges, from soprano to high shrieks
and deep growls, from glorious choirs to narrative
speaking and clean singing... and much more. Most
of the time their vocal style is more similar to a
crazy, psychotic theatrical presentation than a
simple performance.
The structure of a heavy metal song is just as easy
as 1+1=2. Verse, bridge, chorus, verse, bridge,
chorus, solo, chorus, chorus. However in the case
of unexpecT the situation isn't that easy, sometimes
1+1 happens to be 3. You will feel your brain
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aching and you will hit on "stop", screaming blue
murder to those who created this. But before you
do something you will definitely regret, please calm
down and listen to it ten times more. What will be
your first word after it? I wouldn't be surprised if
you would say "fascinating" or "stunning". But it's
much more. The band incorporates the law of large
numbers which gives their music a unique feature:
you won't ever find this album boring. To sum it
up: you have to listen to a song at least ten times
to feel the same vibrancy of the rhythm you feel
while listening to heavy metal. Then you would
probably be bored. The only problem is that you
are a limited human with limited qualities and
cannot adapt a one hour long song. So what remains
is pure excitement during each single listening.
These guys are (the) true masters of avantgarde
music. With their astounding, outstanding
creativity, technicality and complexity they surely
have brought something abstract, surreal, "ultraplanar"
to this world. The lyrics are exclusively
written in metaphors by syriaK (except "The
Shiver" by CaotH) and every listener will find different
truth in them for himself.
This release should (must) change every listener’s
way of thinking about the whole world. This album
shows that there is a new, differing angle to look
on things, on life, on music, on feelings, on impressions,
on relationships, on past, on future, on your
role in the universe. Hope I'm not the only one
who's having this album as a cornerstone of his life
and musical taste. This flawless masterpiece is a
must in the collection of those who consider themselves
as open-minded avantgardists.
revon
Listening to this album for the first time brought a
totally new experience to me. I had to switch it off
after two minutes to avoid a massive brain overload.
I just needed a little rest before diving totally
into the raging whirlwinds of mania. Such an excessive
Gang Bang of all Metal genres wildly crisscross
I have never heard before. Those Canadian
bastards describe themselves as "black, death,
(*)core, symphonic, progressive and melodic
metal; classical, operatic, medieval, goth, electro,
ambient, psychotic, noise and circus music with an
occasional jazzy touch.” And this is really a litotes,
because it’s much more.
There are lots of technical virtuosos out there in
the Metal scene. But just very, very few are able to
make catchy, atmospheric songs out of it. Unexpect
manage it to play two different guitar-solos, a
solo on a 9-string E-Bass (!), a violin-solo, a drumsolo
and a duel of three different voices at the
same time – and it still remains a catchy song!
Unexpect definitely are masters in songwriting. And
their Nomen est Omen. There are countless different
parts in a song. And you never know what will
happen in the next second. Furious staccato dismemberment
with BM-Screams and DM-Growls
follows calm ambient-sounds. Groovy Metal-riffs
mix with dissonant Free-Jazz, proud Tango and
epic Hit-Melodies. There are no limits! You have to
hear it to believe it! Each second of this album is
unpredictable and surprizing. If we had ratings,
this would be a 11 out of 10.
Chrystof

MORE COOL NEW
AVANT-GARDE METAL ALBUMS
AGALLOCH - Ashes Against The
Grain
(The End Records, 2007 – USA)
Avantgenre: Naturally Epic Blackened Metal
With four years since their last release (not to
include a few hard to get EP’s) this album sees
them return reinvigorated and moving forward
almost as if no time had passed. To a certain extent
this album picks up where their previous efforts
left off. By taking the blackened folk-metal
from their first full length "Pale Folklore" and mixing
it with the more acoustic oriented "The Mantle"
this album is a perfect illustration of what exactly
Agalloch is musically.
The greatest disparity between this release and its
predecessors lay in the mixing and mastering of
the album. The guitars continue, as before, their
interplay creating the musical foundation of the
album, both mournful and uplifting. With the distorted
guitars coming across slightly heavier and
more omnipresent in the mix, while the acoustics
intertwine within and without to make up an overall
full and fluid sound. However, the real strength of
this recording derives from the driving power of the
bass and drums that carry each song forward with
a forcefulness of purpose (instrumental interludes
excluded, of course). The bass being very low in
frequency, but well mixed, provides this album
with its heaviness and wall of sound, not completely
found on the two previous full length releases.
The black metal vocals are brought to the fore on
much of this album, their raspy style giving it
forcefulness and a smattering of angst while still
keeping the overall mood of melancholia in its
entirety. The clean vocals are again used to great
effect, interweaving emotional emphasis into each
sorrowful and exultant piece that one finds
throughout this tapestry.
This is an example of a band maturing without a
loss of identity. A band who possesses an individualistic
identity in an industry and world which is
becoming more a vacuum for musical individuality
and personality every day.
If you have not yet heard this band (one wonders
why) then this would be a great place to start. For
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those of you who have heard their previous efforts
and do not yet own this, then by all means what
are you waiting for, you will not be disappointed.
AGHORA - Formless
(Dobles Music, 2006 – USA)
Avantgenre: Buddha Progressive
MvH
The first time that "Formless" collided with my ear
drums I can't say I was impressed. As I listened
the first time through the album I even reached the
state of occasional disappointment and thought to
myself: "There it is, the first negative review I'll
have to write for avantgarde-metal.com." But by
the time I listened to all the songs I began wondering:
Did the band have a creative drain by replacing
the rhythmic section? Did Santiago Dobles
invest so much creativity in "Aghora" that he had
no more to offer? How comes that seven long years
aren't enough to replenish your ressources? And
how does that work with all the mind and body
balancing activities he goes after with great dedication?
Aren't those supposed to bring out more and
more creativity? I concluded for myself that the
answers lie in front of me and that I have to listen
to this quite a few times before making my final
personal judgement about it.
My perseverance was well rewarded! It's not that
"Formless" is more complicated then its predecessor
or that you have to access a new and higher
level of spiritual enlightment in order to appreciate
it. It just depends on what you expect from this
follow up.
I was quite surprised to hear that the metal dose
has been noticably raised on this one! Don't let the
Intro make a fool of you. "Aghora" started with a
crunchy riff while "Formless" initiates its listener to
the beating that is to come by gentle psychedelic,
indian tunes that will give you a truly wrong impression
of the pace of the upcoming journey. It's
not like the songs are now completely built around
the concept of acoustic mass destruction but there
is so much more of it now that I wondered where
the calm interludes went to and when I will be
allowed to breath. Well there are just better hidden

and distributed in a manner that gives the song a
stronger live edge.
I mainly liked "Aghora" fort the epic blasting like in
"Satya". Now I got a whole lot more of it, but at
first it sounded simpler to my ears which has unsettled
me a bit. That impression was quickly dissipated
by the time I lent the harmonies more attention
and enjoyed the fact that the vocals were
given more room to expand and carry the song in a
more angelic manner.
All in all I advise anyone who doesn't enjoy this
album by its first listening to spend some time on it.
Otherwise you are on your way to prive yourself of
a truly enjoyable and fascinating album. Let's hope
that it won't take another seven years fort he band
in order to assemble the next, hopefully just as
great, album.
Trident
BLUT AUS NORD - MoRT
(Candlelight Records, 2006 – France)
Avantgenre: Detuned Psychosis Black Metal
For a long time Blut Aus Nord have been darlings of
the "true” black metal scene. Their productions
have been raw. Their music and their lyrics have
fulfilled every cliché. But one day Satan came to
them with a special mission: "My dear disciples!
Black metal has become a trend for kids. You have
to invent a music even darker, scarier, much more
evil than anything else! Drown them in fear,
nightmare and psychosis! Take away their sanity,
and then take away their souls!” And Blut Aus Nord
got lunatic eyes and a frenzied smile. They took
the frets out of their guitars. They erased all timecodes
and bars out of their drum computer. And
they put all reverbs on ten. And Satan was proud
and saw that it was evil!
MoRT creates naked landscapes filled with bizarre
sculptures of total death. It draws you down into
the deepest spheres of rotting nightmares and
skeletal delusion. Slowly your blood flows out from
your veins. Your head begins to spin. You loose all
orientation and sink down to the very bottom of
bare existence.
MoRT is so different from everything else you’ve
ever heard before. It’s the purest essence of black
metal and something completely different at the
same time. The guitars are extremely detuned and
cold. The raspy vocals are many miles away. The
drums are drunken and meander slowly in their
own vomit. And a blurred delirium covers all. Check
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out this masterpiece from a parallel universe’s hell!
You won’t be the same anymore!
Chrystof
BLUT AUS NORD - Odinist (The
Destruction Of Reason By Illumination)
(Appease Me Records, 2007 – France)
Avantgenre: Liquid Black Drone Metal
Well first of all, I have to mention that I haven't
been a die-hard black metal fanatic for a few years
already, mostly because I believe it's not really an
expanding genre anymore. But to every general
law there always are at least a few exceptions, and
indeed Blut Aus Nord ought to be mentionned here.
Weirdly enough, I didn't know much of this band
when I suddenly bought their new record out of a
pure coincidence. As a matter of fact, I'll never
regret doing that!
It could be because black metal has now become
out of my usual interest, it could be boiled down to
the most honest fact that I've always enjoyed the
strange emotional effects that both atonality and
dissonance can induce me into, it could be that I
love letting my mind drift out to imaginary floating
soundscapes... Well, many reasons can explain
every single human experience, but I believe that
Odinist is an extremely well-done heavy
voivodesque drone metal album. There, I said it!
But why am I writing this? Because in every song
presented here by Blut Aus Nord, I can clearly hear
massive waves rising high and falling deep down
only to recycle themselves again, and again, and
again, in slow-motion lavas of sounds. In its entirety,
the album is surfing on these kind of aural
shores. Another good point to mention is that the
vocals have almost been mixed within an enveloping
ambient and noisy atmosphere which follows
like a bio-plasmatic aura most of Odinist's compositions.
They are inherent to the sonic textures and
never in front of it.
As an all, it's quite repetitive, sure, and almost
linear and without any explicit dynamism, you're
right about that - but I've got to claim that in this
case, that's the whole point! I'm saying this because
I know some people have been complaining
about how uneventful this album really is. But
please listen through the subtle riffing mastery
displayed here - there's so much atmosphere and
feeling deep inside every note and at the heart of
every tone. It's not about rythms, it's not about

technicalities, neither is it about blast beats and
earth-shattering evil stormy passages. The guitars
rather are fluid-like, heavy-foggy, crawling underneath
while reaching out for the stars. When my
roomate heard only a few moments of a song, his
initial reaction was to mention how cool and laidback
the guitarist seemed to be. Of course it's dark
music, but in a relaxing, borderline somnolent and
dreamy way, as if they wanted us to find some sort
of a hidden beauty into apparent creepiness and
fear.
I don't really know how to explain this further other
than by informing you that it sucked me in its spirals
right within a few minutes of playing. Let me
sum it up with only a few expressive words - mesmerizing,
mysterious, stellar, eerie and magical.
Yeah, I can only wish all black metal records could
contain at least half the flowing e-motion that Blut
Aus Nord have summoned here. Thanks for the
massage, guys! I have been illuminated...
Olivier Côté
DOL AMMAD - Ocean Dynamics
(Electronicartmetal Records, 2006 – Greece)
Avantgenre: Electronic Art Metal Aquatic
Space Opera
When I looked at the album cover I first felt like a
beaten dog, which then was slowly and carefully
nosing the CD until realising it was a friend and not
a foe.
"Ocean Dynamics” is a continuous concept starting
in outer space, represented by the powerful first
four tracks of "Thalassa Dominion I-IV”. The journey
moves on into the solar system and "Solarwinds”
is tied on with fast and fantastic drums
which really sound like solar winds. This is musically
so amazingly well done, that you could distinguish
between a storm and a wind. The wind here
even carries the cries of dolphins into the atmosphere
very softly. Further, continuing from "Descend”,
descending to earth into "Lava” where the
fire from the sun liquefies slowly, to then finally
ending in the ocean (last three tracks). Here you
can listen to more water sounds when you were
missing them in the first parts.
One has to listen to the entire album to develop an
understanding of the whole idea musically as well
as lyrically, because after several minutes of each
song completely new parts appear in a sudden and
make the album very fluctuating; with plenty of
tempi and arrangements, sounds and partly differ-
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ent styles of music, from Funk-Jazz to extreme
Black Metal- like drums and percussions, mostly
somewhere in between all these genres in the upand-mid-tempi.
What makes this band unique is the combination of
Metal and 70's electronic music with distinctive
synthesizer sounds similar to Jean Michel Jarre and
Vangelis. It seems like the marriage of Berlin Love
Parade with some Rock Festival. The Metal music
to some extend reminds me of Luca Turilli and
Rhapsody, certainly because of Alex Holzwarth
(Drummer of Rhapsody of fire), who seemed to
find asylum in this project with his characteristic
way of drumming.
The second cherry on the top constitutes the choir
of 14 people (seven women and seven men). They
represent the operatic bombast throughout the
album and also "flow” with DC Cooper (Ex-Royal
Hunt) in "Aquatic Majesty”. Therefore, "Ocean
Dynamics” is the perfect symbiosis of electronic
music, operatic music and Metal. It can be seen as
a complete art work with its wonderful orchestration,
lyrics and also with its amazing cover art work
that was designed totally coherent.
You have to decide whether this is your cup of
ocean dynamics or not. I find it to be a fantastical
album, where ocean meets universe with a lot of
atmosphere in between. All my thumbs, including
big toes up!
Katja Honeywine van de Barrel
FURZE – UTD
(Candlelight Records, 2007 – Norway)
Avantgenre: Black Furzing Metal
"Furze" is the name of the Blade on the Reaper's
scythe - the one and only trademark of the one
and only Reaper, made "music". Woe J. Reaper,
sole member of Furze, began back in 1996 (when
black metal, according to the Reaper, died). HE is
the only one who knows the Truth. UTD, which is
the third Furze volume (excluding demos, a 7" and
a 10"), is not an album but a split cd, with Furze
and Furze. The two sides are called Beneath the
Odd-Edge Sounds to the Twilight Contract of the
Black Fascist and The Wealth of the Penetration in
the Abstract Paradigmas of Satan (consider the
taste of the titles, that is the taste of the Furze).
Again taking up the black flame of metal from
Trident Autocrat (2000), rather than the doomier
aspects of Necromanzee Cogent (2003) - though

slowing down a couple of times - this is some violent
stuff.
What is? Harsh scrawny sound, horrifyingly necro,
though not at all unprofessional and bedroomy but
rather elaborate, like a mix of ULVER's Vargnatt
and Nattens Madrigal. It is at many times a hard
listen; at low volume incomprehensible, at high
volume unbearable (especially if you're a cat, it
seems), always confusing - I still don't get many
parts of it, despite a dozen sit-throughs. Is this
negative? For some, probably. Furze means many
obstacles. But obstacles mean rewards for the
persevering.
UTD envelops several facets of black metal art (yes
it is art). Spite and hateful, melancholy and solitude,
fierce and in grief, tearing parts from the
Reaper's soul and showing us, as someone put it.
But still something you have NEVER heard before
(yes, never heard before). Woe J. Reaper longs for
the days when black metal was "alive" (1986-96),
but takes black metal to strange places it has
never seen before. Maniacal dancing of ghouls
eating mushrooms and nasty witches with bad
teeth boiling frogs and herbs into strange concoctions.
The scary visions of a deranged mind drinking
tea (the TEA is of UTMOST importance) and
listening to BLACK SABBATH and HELLHAMMER,
calming down after pounding Feeble Christian Cretins
with a hammer from hell at a black Sabbath.
Woe's vocals are... unsettling. Hysterical screams,
retarded murmurs, ghastly whispers, the nasty
drool of something wanting you really unwell - not
satanic but folkloric and very old. Like a pissed-off
little demon trapped in a rusty cage, or a ghost
from the deepest pit of your soul (or from beyond)
beckoning to you in a feverish jimsonweed-induced
dream... What is also interesting and unusual: he
actually PLAYS the bass, against all black metal
traditions - and in a peculiar fashion too, moving
about with a mind of its own (as does every instrument
the Reaper molest). Furze is not selfconsciousness,
not artsy pretensions, just the
chaos of unhinged creativity and obsession with a
non-intellectual dark side - raw black energy vibrating
through the whole of the Reaper not because
he WANTS to but because he HAS to. And
it's quite mesmerizing too, the whole of the Entity
of the Reaper - the Truth and the Blade. The Completeness
of the Creations. Need. To. Be.
Heard. ...and Seen and Smelt And Felt and Tasted.
To Torture Them Beyond Death Is The Heaven
They Deserve
Shadowstench, Deathpace; we're on course!
On the behalf of Eternal Pride; I shadowcast the
Very Map of it
[Note: The cover shown belongs to "Beneath...".
The cover for "The Wealth" - appearantly painted
by Woe's father in 1975 - is not for me to find
online. And the Name of the Blade probably refers
to the Plant, rather than the Gas, you Germans.]
aVoid
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HELLA - There's No 666 In Outer
Space
(Ipecac Recordings, 2007 – USA)
Avantgenre: Post Thrash In Opposition
From Sacramento, California, comes the everchanging
art of a very daring band, I’m indeed
speaking of Hella. Mind you, There’s no 666 in
Outer Space, released on Patton’s Ipecac Recordings,
was my first real exposure to their musical
craft and already within the first listening session,
I became utterly fascinated by the way these
guys turn the most confrontational multi-tracks
riffing ever into some of the catchiest art-metal
tunes I’ve heard in a great while. Having two
prominent guitarists and one loud-fingering bassist
fighting against and with each others, if you carefully
pick out all of the riffing elements one by one
and in itself, everything is overly technical, deconstructed,
meltingly abstract and therefore always
on the borders of being just too much. You’ve
probably heard, at least once, from one of these
masturbatory jerky-proggy bands whose main
concern is always to show off more, and more, and
more, forgetting all about the rules of headbanging
insanity. Well, that’s really not the case
with Hella, please do not worry.
Instead, the music here is warm in textures, deep
in sound, and even within its last-minute changing
patterns and structures, long build-ups of atmospheric
climaxes can always surprise you. There’s
also a certain feeling of blood-boiling urgency
throughout the entire album’s duration: this is
dangerous stuff, folks, no kidding. You’re holding a
bomb in your head at each passing second. Call it
post-thrash-jazz, I say whatever – this is a fucking
intense ride!
Every pretentious (or not) extreme jazzy metal
drummer definitely has to hear Zach Hill behind his
machine-gun bashing kit. This is what artful
rhythm constructivism is all about. Even tighter
than a blasting Czral on speed, this man is exploring
a frenzied drumming style I had never heard
prior to experiencing Hella’s unique approach. No
typical blast beats nor double-bass attacks are to
be found here; it’s just so much more extreme
than that. Without such a solid backbone, I would
even go as far as to say that Hella’s music couldn’t
be that metal-oriented. Hill certainly is aggressive
and groovy like none other.
Nasal-filtered acid vocals are graciously layered all
over the music, and let me tell you that singer
Aaron Ross has an amazing palette of squealing
throatings to spit forth. It really sounds as if

Megadeth’s very own Dave Mustaine came back to
his old-school sessions of excessive cocaine snorting,
while Voïvod’s Snake embarked upon an occult
bathing into unknown liquefied planets, only to
give the great sarcastic guru Jello Biafra an opportunity
to make his critical madness shine through.
And I’m serious here.
Upon feeling concrete traces of an immense enthusiasm,
I immediately started tracking down reviews
on the web, but soon enough got turned off: most
of them mentioned how crappy this new album is.
Keep in mind that this is Hella’s first record as a full
band, reconstructing from scratch, maybe without
even knowing it, the whole metal genre. If 666
represents, as a symbol, the sterile and limiting
rules of a down-to-earth take on metal, and if
outer space is the infinity of experimental possibilities,
then I’ve got to admit that there’s no 666 at
all in Hella’s quest for outer space. Bravo!
Olivier Côté
JESU - Conqueror
(Hydra Head, 2007 – UK)
Avantgenre: Love Inducing Drone Doom
Who would have thought that one day a founding
member of Napalm Death would create something
so pleasant?
Despite its tough metal title, "Conqueror" is actually
comparatively subdued next to the bone crushing
weight of the debut album and the wide open
production of the "Silver" EP. Its lightness has less
to do with any significant compositional choices
and more to do with its softer production, though
the songs are a little sparser and often catchier,
leaning closer to the warmth of shoegaze and
dream pop than the cold plodding heaviness of
industrial doom.
There are more vocals and songs contain actual
choruses, though they're still winding epic affairs,
perhaps more psychedelic and drug friendly than in
the past. Consider the inspired "Mother Earth." The
core of the song is recognizably doom metal, but
the watery synths and waves of reverb and feedback,
not to mention the dreamy lyrics, are pure
acid dropping granola hippy ecstasy, but in a good
way! It's the heaviest head music outside of Japan.
"Mother Earth" is the best example, but every song
on the album virtually pours over the listener,
forming a warm, inviting cocoon of distortion and
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love. Justin Broadrick might take exception, but
this is very agreeable, very agreeable indeed.
James Slone
KAYO DOT - Dowsing Anemone
With Copper Tongue
(Robotic Empire, 2006 – USA)
Avantgenre: Violinistic Naked/laced Disney
Pop
Have you ever listened to Laibach all day long and
then tried to write an album review? Well I have,
and this is what I heard thereafter. The album has
got five windows that are between 7:44 and 18:00
minutes:seconds long and use a lot of curtains
(curtains in music are i.e. keyboards that stick to
one or more tones for a very long time) that they
successfully interrupted with raw guitars or violins,
sometimes drums and a presumably male singer.
Sometimes one of the musicians is a bit more angry
than the other and then he or she gets his or
her moment to express him or herself. I sometimes
wish there was only one sex on the planet or single-sex-bands
only because writing about bands
would be way easier. On the other hand (I will trick
you because I will not tell you what is in my
unmentioned other hand) if there would be only
one sex/genre in the world or single-sex-bands
only, one would never have been able to enjoy
those castrated opera singers or the fabulous
Transvision Vamp (W-W-W-endy!).
If I were asked if I preferred to eat, to drink or to
listen to music for the rest of my life I would not
only wonder who asked such a dumb question, but
I would also respond that I would prefer to
"LIEANK", 'a pen', which is, as you probably knew
right from that moment which I marked with 'a
pen', a mixture of the three verbs. If I were hungry
or thirsty I would listen to this album all day long.
If I were deaf I would put the album on my record
player, cut off my nose in hope some waves would
enter my head via those holes.
Jonny Lignano

KEKAL - The Habit Of Fire
(Whirlwind Records, 2007 – Indonesia)
Avantgenre: Urban Avant-Garde Metal
This is vibrant interesting metal of a decidedly
experimental nature. From the first track "The
Gathering of Ants" it has you hooked. Ripping melodious
but heavy guitar work compliments a variety
of rhythmic and vocal approaches all coated in
an atmospheric sheen (benefit of background
synths/samples as well as a great production). The
sheer tonal arsenal at this band's disposal is an
aural pleasure, especially coupled with song-writing
(a concern often un-addressed by a lot of AGM).
The second track features vocoder parts, adding to
the decidedly unearthly ambience. Coupled with
the growls and the progressive musicianship, there
are shades of Cynic as well as later Septic Flesh
here, without copying the sound of any one act.
And what chops they have!! The axe-work is some
of the tastiest I have heard in a while.
Over the course of the album, the band's trademark
becomes more clear: trippy guitar parts coupled
with strange clean vocals, and very occasional
industrial growls. "Manipulator Generals (Part I of
Dictatorship), shows how far the band has progressed
from their more traditional metal roots,
with the haunting melodies and alternately eerie
arpeggios and dissonant guitars moving forward on
the backbone of samplers and drum machines as
well as live percussion, going into totally bizarre illbient
midway, and ending with a truly strange
sludge-funk freak-out outro.
Strangely the album gets spacier as it progresses.
The lyrical and thematical content deals with the
political and personal (as far as I could make-out).
The eerie vocals couple with the heartfelt motifs to
tell the tale. It is original (showing clearly a unique
vision from a unique culture, closest reference
being some of the more experimental Japanese
metal outfits) and emotional (as exemplified by
"Our Urban Industry Runs Monotonously"), making
for a truly satisfying listen. The heavier more extreme
metal elements are few and fluidly interspersed
in a sea of musical vitality, the chord
changes showing a jazzy flavour as indebted to
70's fusion outfits as to 90's metal (check out "Part
II of the Dictatorship"). In places it’s like a prog
metal band that has matured enough to let go of
the hair/shred metal retentiveness and reaching for
the outer limits. The last 2 tracks round off the
album with a serenity (the almost BM trip-hop of "A
Real Life to Fear About") that can only be born of
burning in discontent. In fact the closing epic (almost
15 minutes) may molecularly re-arrange the
awareness of the listener into an avant garde metal
116
revolutionary, what with its thematic gist and bizarre
twists and turns.
All in all, this is genius (a word used too easily, but
here completely justified) and is on my personal
top-ten list for 2007. And yeah, a big thanks to
Chrystof for sending this one my way. Also, don’t
forget tot checkout the interview on this very site.
Suleiman
LE GRAND GUIGNOL - The Great
Maddening
(Maddening Media, 2007 – Luxembourg)
Avantgenre: Fin-De-Siècle Metal Grotesquery
This fancy promo, carrying misplaced Kris Vervimpcover
artwork, was sent to me a coupe of weeks
ago, and it immediatly clinged to my mind. Apparently
this Luxembourgian band was up until last
year known as Vindsval, and it was under that
name this album's 1999 predecessor "Imperium
Grotesque" was released. Now in 2007, they
unleash "The Great Maddening", after reaching a
new spiritual level of conceptual insight and thus
changing the orchestra's name. The info sheet
(extra-fancy!) claims that the band shares their
name with a French genre-theatre about a hundred
years ago. Being aware of the climate of entertainment
during that period and in that region
(think Moulin Rouge - yes, the movie - but darker,
without Nicole Kidman), you can probably guess at
the esthetic approach of L.G.G. (The official website
translate the name as "the Big Buffoon")
Anyhow! Consider for a minute or six these following
madmen's general output and esthetics during
the end of the last century: Rhapsody, Devil Doll,
Covenant (the Norwegians, with Sverd & Astennu)
and Bal-Sagoth. Add to that a sprinkle of Arcturus
heading of to a masquerade, Anna-Varney of Sopor
Aeternus feeling kinda cheery reading Poe when
recording the Sarabande albums plus Dimmu Borgir
and Cradle of Filth going to see "The Return of
the King" at the movies, holding hands and kissing
with Blind Guardian as an apron. Seriously pompous
marches, circusesque (new word!) buffonery,
overly theatrical vocals (shouting screaming crying
howling et c)... Solemn brass sections, female
quasi-opera vocals, spaced-out synths, folky and
neoclassical guitar riffs and leads, symphonic keyboard
string sections... Nothing new per se, besides
the fact that this kind of music isn't made
anymore. It's too dark and growly to be

power/fantasy/whatever metal, and way too cheery
and pompous to be black/death/et c metal. So
devoid of distance, so exuberant and silly, I just
can't help but loving it. They combine all the bands
I loved when I was like 15-16 years old (OK, not all
of them, and I wasn't that fond of Rhapsody and
Blind Guardian, but you get the point), all bands
people couldn't help but laugh at. The performance
here is terribly solid and skillful, actually loosing
the imperfections that made the abovementioned
bands so impeccable. This is more of a mirror without
that much personality - very beautiful and
florid, but equally easy to forget about. And it is
slightly too long, even though at least three of
these eleven tracks are instrumentals. Cake upon
cake, as we would say in Sweden.
But, if you're into any of the mentioned bands (as I
know you are!), you should check this out. If I had
heard this 6 years ago, I probably would have
ejaculated all over the soundsystem. And some
additional kudos for the following...
-Silly Frenchy pronunciation is always good entertainment
(perfect English is nice but not fun).
-Great and suggestive song titles, it's just a shame
I didn't get the lyrics as they seem to be quite
important for the Great Maddening Experience.
-Marvellous orchestrations (who needs an orchestra
when you have midi? It's as cheesy as it comes,
and bloody fantastic).
-And finally, powerful vocal performance - he actually
carries all the strengths of the bands above
(except that German goth-transvestite...).
Fancy!
aVoid
SMOHALLA - Nova Persei
(God is Myth, 2007 – France)
Avantgenre: Ambient Symphonic Dream
Metal (weird)
French Smohalla is a pretty singular three-piece.
There are times when I can't make myself listen to
them, there just isn't anything there for me to
enjoy. Then it turns, and I can't keep myself from
listening to their otherworldly harmonious chaos.
There is something in their strange sound (which I
described in my review of their masterful debut
demo Smolensk Combustion some months ago,
117
read that one after this, the foundations are still
the same). I can't put my finger to it, but it's as
captivating as it is oppressive. Which is pretty
amazing seeing how this is only their second release
since their formation early 2006!
Nova Persei is the latest instalment of record label
God Is Myth's H.P. Lovecraft series, a series of 3"
cds inspired by and dedicated to the horror writer
of all times, the gentleman of Providence. Haven't
read? Do so, then come back feeling a little embarrassed.
On this EP Smohalla has reached into the
strange story of Joe Slaader as told in "Beyond The
Wall Of Sleep", a primitive hillbilly peasant going
crazy because of unwholesome dreams of stellar
battle - he has, in fact, within him the residing
spirit of Nova Persei, a nova exploding (for real) in
1901 only to fade again some weeks later. Rather
than focusing on the horror aspects, Smohalla
brings out the grandeur of the cosmic chaotic battle
between Nova Persei and the demon star Algol
(track 4 and 5), the beauty of Slaader's otherworldly
dreams (track 3), and his inevitable fall
(track 2 and 6) - that is, no Cthulhu here. Being an
avid Lovecraft enthusiast, I was very pleased with
the prospect of musicians focusing on other facets
of this master of the weird and stellar horrors,
rather than the pretty used up monster worship
one is usually facing when dealing with Lovecraftinspired
metal. Does Smohalla succeed? Yes, they
do.
Jazzy beats, proggy mellotrons and otherworldly
choirs, explosions of avant-black savage dissonance
as chaotic as luring... and something very
hard to pinpoint. It is indeed very dramatic and
cinematic, with horn sections at times turning my
mind to Bal-Sagoth's Battle Magic, and an omnipresent
cold feeling of space, being lost and quite
alone in space, not at all dissimilar to what the
better parts of Marilyn Manson's Mechanical Animals
did to my teenage self back in the days -
especially the chord sequence of the epic 'Extinction'
touches the soul same way 'The Last Day On
Earth' did. That kind of cold, but in a completely
different way - but then again, not at all. Surges of
post metal/rock/whatever, framed and ornamented
by very black tremolo lines, the most icy of synths,
and Slo's ever-changing vocals - ghastly distant
howls, clean singing (in both French and English -
bilingualism rules) which the mob would deem as
"operatic". This is... wonderous. The future, at
least parts of it, is Smohalla's. And note that, while
writing this, I'm listening to Nova Persei for the
first time in about a month, not even wanting to
listen to it the past weeks. Smohalla does that to
you, or at least to me, in a way I've actually never
experienced before. Strange. Really. And by the
way, it was sold out on November 11, so chances
are probably pretty slim of getting hold of a copy.
Unfortunately.
(...and an additional THANK YOU for NOT programming
the drums...)
aVoid

ABERRANT VASCULAR - Pelopia
(self-released, 2007 – Finland)
Avantgenre: Electro Ethereal Opera Metal
This is a three-piece suite EP, the latest effort from
the Finnish band. Already at the inside cover, the
band stages itself as "operatic avantgarde metal",
and this claim has a lot to do with both, subjective
and objective truth: start from Vladimir Lumi's
vocals, which are pure opera and finish with the
epic feeling hanging from the ethereal synths,
giving a final result, a curtain of a mighty strangeness.
Unfortunately, this strangeness, a world
waiting to be deeply explored, ends within 15 minutes
long. But I'm reaching the end too soon.
As stated before, three tracks are presented within
good, but not superb, production. The first song
called "Shto oni zasluzivat" (Russian anyone?)
opens with a gentle stroke of synths, falling into
somehow-weak guitar burst, which reminded me of
the start of "Kinetic", the opener of "The Sham
Mirrors". As I wondered about the source of this
comparison (and the conclusion pointed to something
regarding the distortion depth), Lumi's voice
comes forth, all might and glory, sounds so assure
and decisive and blend uniquely with the electronic
beats. Indeed, Lumi is a professional opera singer,
an impressive tenor who provides the cachet for
the band's self definition. His vocals are lucid and
strong, sometimes aching and whispering (there's
even some sort of blackish scream, style the late
Michael Haas vocals) but mainly traveling easily
and skillfully through scales and phrases. Tracing
the vocals only is fascinating, for this is singing. He
gives the EP almost the solemn touch of the elusive
avantgarde seal. But yet again, there's the music.
The constructions are the eternal duel between
guitars with average distortion and also the general
place in the whole production and highly interesting
and changing synths work, which claimed to be the
musical highlight of this EP. The synths combine
clear electronic influences (as they've heard best in
the guitar-given sheath), classical piano flickering
(another statement of the operatic attitude) and
tiny electro samples, coming directly from the
industrial world. They slide gently into one's ear
upgrading the songs a few levels. Therefore, another
listening should be done carefully, giving
those little "friends” the rightful attention.
Aside from few interesting riffs, the guitar work
isn’t stirring. It absorb from some major genres,
such as Doom, Black and even Heavy metal. And
HIDDEN TREASURES 2007
118
yet does not succeed to stand at it's own as contra
to the prominent synths and of course, as steady
foundation to Lumi's vocals, which swallows it all as
a storm. The drumming also deserves attention
and slides along with both electronic beats and
human touch.
The best song in this EP is the second one, "Dorei",
which leaves the listener mesmerized, due to the
combination between the synths and the vocals.
They take the listener's ears to somehow familiar
journey, thanks to the heavy influences of Arcturus
and The Kovenant. One might say that this EP is a
mirror of the sham... However, after some listening,
is becomes obvious that the band has much talent
to withdraw those roots to places of their own. The
last song, "Paradigme / quintessence", sung in
French and clearly in the veins of its ancestors –
leading synths and guitar scratches under the dependable
vocals conducting.
As said earlier, the trouble with this effort is that
it's over too soon. Once the listener had a glimpse
inside this odd Finnish world, he'd like some more
of digging in. When one regards that as another
demo, it stands as a great ticket for the band,
although I recommend strengthening the guitar
department. In an overall look, Aberrant Vascular
created an EP, that surely leaves taste for more,
and this time, for a full album by this talented band.
ABSTRUSE - Transgression
(self-released, 2007 - Greece)
Avantgenre: Cerebral Death Experiments
Jobst
Transgression is the first release from this ambitious
Greek duo, formed back in 2002. Veiled and
Substant, sharing the vocal, visual and musical
duties, states a pretty bold mission objective - to
fuse extreme metal's eerie darkness, the strange
tonal systems of modern art music (serialism,
atonal and tone scales et c) and psychedelic visual
art, in order to walk down a new musical path.
Indeed, pretty ambitious for a band's first release,
and before listening it mostly seemed pretentious
and rather silly. But... I was very, very wrong.
The music of Abstruse (a synonym of "obscure", it
seems) is extremely experimental, though it rarely
leaves a metallic context. Their claiming of using
the disharmonic scales of 20th century avantgardist
composers is definitely no ostentatious bullshit,
among the dark metal riffs (a fair reference should

e early progressive death metal) I can hear not
only traces of Schönberg's Twelve-tone technique,
but a distinct use of it; programmed melodies intertwine
with guitar sweeps, melodies are turned
inside out, played in reverse, everything those
Germans did back in the angst ridden 1920's. The
dreamy whole tone scales of Debussy add a misty
surreal veil to the chaotic dodecaphony... But still,
they never leave the metallic course. Bloody awesome?
Indeed! The opener hints both to the crazy
electrojazz of Last-Minute Lies-era Fleurety and to
the playfulness of the Atrox guitarists. The slightly
slower "Ceremonial Torches" brings to mind a dark
mix of Karl Sanders mythological solo works and
The Residents (!!!). The guitar lines at points resemble
the works of Carl-August Tidemann before
joining Winds (i.e. Arcturus)... but enough references.
Is it strange? Yes. Great? YES. Few can
achieve music as technically stunning as this, without
simultaneously losing my interest. Very cerebral.
I like that.
The vocals are pretty strange, deep half-roared
whispers most of the time. The programmed drums
might annoy some, but they merge naturally with
the overall technological sound; only the blastbeats
sounds plastic. What I also like is the visuals accompanying
some of the songs on a DVD. Psychedelic
as hell, blurry shots of nature flowing into
each other in many pretty colours (a lot of colour
inversion and that kind of stuff). I‘m an ignorant
when it comes to video art, but I know what I
enjoy. This, for example.
If you are in any way interested in experimental,
groundbreaking or just highly technical music, you
want to hear this. This will definitely not be the last
you’ll hear from Abstruse.
aVoid
AVERSE - Scolopendrian Perception
Haze
(Independent, 2007 – France)
Avantgenre: Progressive Black Metal
I must say that it is quite an honour for me to be
writing for this site, getting in contact with all these
interesting and creative unsigned bands. This time
I have gotten the first release from the handsome
French quintet Averse, the concept EP Scolopendrian
Perception Haze.
Led by Tim (keys, voice, guitars and words), they
claim the genre "progressive black metal" as their
own, which I cannot deny them. Opening with the
119
dark ambient experiment "Eveil, Grondement",
they swiftly move on to a twelve minute opus,
taking the appropriate amount of turns a band of
these ambitions should during that amount of time.
They cite (among others) Enslaved, Opeth and
Solefald as influences, and well, you hear that. The
song starts of with a proggy acoustic intro, soon
exploding into a grinding fury akin to Solefald first
four albums. The growled vocals sound professional,
but the clean ones have a few steps to go before
competing with... well, the abovementioned
sweetsingers. Prog-wise, Averse have chosen the
right path; that of the British 1970's. All that is
lacking is a mellotron, but I would rather hear
some more eerily Crimsonesque dissonants in the
guitars for the releases to come.
Did I mention the violinist? Yeah, they got one of
those, he's classically trained and really adds another
dimension to Averse, giving both an air of
folk music as well as chamber music. Unmetallic
instruments are sovereign, and should always be
promoted. The instrumental third track consists
mostly of a forlorn acoustic guitar, well played but
quite faceless - some more structure and perhaps a
violin of two would definitely get me off. The second
of the "real" songs (I guess you can see this as
a five-track EP or a massive single with pre-, inter-
and postlude) is also twelve minutes long, sung in
French this time. It is slightly more traditional black
metal in a Norwegian sense. Still a fine track,
though lacking some of the experimentalism that
made "Thus Grant Matter" a hit - most notably the
passage at about 4:30 where the violin ostinato
gives this debut its apex.
Keep it up. Integrate the electronic sounds, acoustic
experiments and the violin even more into your
metal, move a bit further away from your influences,
and you'll be eating many signed bands for
breakfast within no time. And keep singing in
French! English is terribly overrated as a growled
language.
BLACK ALBATROSS - The Green
Walls
(self-released, 2007 – Pakistan / USA)
Avantgenre: Post-Drone Narcotic Space
Rock
aVoid
The first album proper (self released that is) from a
meeting of young yet prodigously talented minds,
this is indeed as avant garde as they come. Starting
with a backward guitar melody that morphs ito
the opener "In a Garden", here is some seriously

eerie and trippy music. It is essentially Saqib
Malik's soundscapes and strange textures married
to Howard Eichenblatt's stream of consiousness
poetry. From the opener onwards, the agenda
gradually unfolds to demonstrate reverb laden
guitars and drums, creepy drones, disturbing samples
all topped by vocals recalling a teenage Morrison
on crack. Reference points touched upon include
modern drone masters (Sunno, Boris et al) to
indie (old Sonic Youth, Velvet Underground) to
experimental black metal (Blut Aus Nord), but
without resembling any one band or genre. The
production is intentionally lo-fi, keeping clarity of
instruments and vocals without sounding immediate
at all.
Infact, the mixing of the distant reverb laden sound
with the odd lyrical and vocal gist makes this the
very epitome of narcotic post rock/metal. Thankfully
this completely avoids the Grateful Dead-with-
Distortion structuring or the chugga-chugga generic
chunks of many post-metal luminaries. Instead
it delves into the underside of rock (and no I
don't mean the sleazy redneck kind either), and
comes up all aces. Very occasional touches of a
more extreme metallic element (witness "At Dusk
We Returned" and "Dark Language") show metalheads
swimming somewhere in the murk.
This is cosmic music but its the very anti-thesis of
what "cosmic" usually means when applied to
metal. Instead of rage and pomp this is the moan
of a feeble, drugged out and decaying cosmos.
Honestly speaking, after the first 6 tracks I lost
conventional conciousness and was floating away
blissfully on a narcotic cloud. And I have not used
any mind-altering substances in a long time.
This is to post rock and metal what Radiohead's Kid
A was to modern indie pop rock. I am scared of
thinking what these guys would do with a bigger
budget and a slicker studio.
BUG - Split With 27
(Inter Stellar Records, 2007 – Austria)
Avantgenre: Dark Chaoscore Rock
Suleiman
The cd goes for the throat with opener "Grubenhund".A
thorough slice of chaoscore (for want of a
better description ), this is loud ugly music with
that extra something. And that is the intensity of
the clean parts. In place of the typical emo schlock
we are introduced to some near gothic (or dark
hardcore) sounding vocals and haunting licks.
120
There is a clear preference for distortion (including
the screeched vox) and a rather doomy feel to the
proceedings. It touches all the right bases : edgy
hardcore and extreme metal along with sludge
(where the distortion seems apt) and rock. Its one
of the few releases from the hardcore camp I have
had the pleasure of reviewing for AGM.com and as
such just maybe I'm cutting it a little slack because
god knows there are a million bands doing something
similar since the days that Botch and Cave-in
broke-out. Its just that an average chaoscore band
is still around 50 times as intense as an average
metal one, and this shows in the band's violently
funky jerking grooves, haunting riffing, spite-filled
vocal attack (mixed up with that 'insane gothic
man' voice) and feedback. The musicianship is topnotch
on this thing.
The mixing of elements is used to great effect on
the riveting "Something Wrong with The World
Today" as well as the discordant yet emotional
pounding of "Lainzer Tiergarten". The album rests
briefly for the first half of "Excitement is a Girl" and
the clean sections share their secret in detail: the
unique calmer segments owe as much to the geographical
location of the band as to apt composition.
Namely, there is a Teutonic element prevalent in
the proceedings, and what would have been
cringe-worthy in american hands is here strangely
enjoyable. Thank heavens its miles away from the
sickness knows as screamo/emo.
This is one of those bands that can eventually
progress beyond their chosen genre onto something
much more transcendental given enough
time. At present they are a name to impress with,
showing you are hip to the cutting edge of new
hardcore. It is avant-garde only if you think of
Biohazard and Sick of It All as all that hardcore
offers. And a word of advice to the lads : easy with
the distortion pedal !
Suleiman
BURZUKH - Orion
(self-released, 2007 – Pakistan)
Avantgenre: Astral Retro Groove Psychotic
Machine
Sometimes you never know what will hit you before
you listen to a new acquired peace of music.
We're all quite familiar with the music coming from
Europe or America, but what about Asia?! Pakistan,
particularly, has a small but quite a strong scene
which started blooming in the mid nineties after
Dusk was formed. One of the most interesting

animals from this scene is actually Burzukh, a one
man band active since 2001, led by Suleiman Ali.
"Orion" is Burzukh's fifth full-length effort, released
only through internet (for now). It's not a long
output, but people say that poison is kept in small
bottles. From the first listening I knew the whole
thing's going to be pretty weird. The album starts
out with a crazy electronic beat, something mr.
Zweizz himself would do. Later it's covered by a
quite gloomy guitar sound and vocals which could
not be described as screams but rather as some
kind of grim high pitched moaning and grunts, very
interesting any way. The greatest surprise is the
variety of stiles found on this album: it ranges from
some weird black metal outputs to very dreamlike,
cleanly sung miniatures. One can feel old prog rock
influences, especially in the simple, yet mooving
psyhadelic atmosphere of some songs, most notably
"Goth Machi". This combination of influences
gives the album an interesting variable structure
one could compare with a chess board: constant
shifting of two main influences forming a visually
(in this case audibly) dynamic and recognizable
pattern. The overall atmosphere is somehow
dreamlike, moody and in some points quite disturbing.
The track "Lying" is a mindgame for itself:
filled with electronics and dominated by screams
and those long clean moans it pushes you into a
room full of hyperactive thoughts jumping around
the whole place, bouncing of the walls and hitting
your ears......
The instrumentation is very good: simple but expressive.
The use of keyboards is very insane on
some parts because of the weird, almost irritating
sounds that were chosen. It all blends with the
sometimes quite dissonant (great!) riffing and the
very dim bass sound. Tremolo pickings like found
on "Awaken Orion" combined with all the crazy
sounds is...well one cannot describe that feeling
they produce without using the sintagma astralindustrial,
it works for me at least. The only thing I
regret is the lack of a drummer...why? Well the
fact is that the drums are great, just that they
can't cope with the loose, psychedelic atmosphere
of the whole album, or maybe they lack some expression,
I am not sure, but the fact is that it's not
easy to programme drums and do all the things by
yourself, so it seems Suleiman did a good job here.
When it comes to efforts like "Orion" one should
remember that you never know what is going to hit
you next: whether it is going to be a boot in the
face or a pleasant surprise depends on your attitude
and the will to consume great music made
with a different view on the world. Just keep in
mind that "Orion" was recorded in a home studio.
Don't expect a Dream theater production with mr.
Portnoy holding your hand while listening.....this is
real fresh and raw sound. It's not my problem if
you miss things like this....one can always give it a
chance! Soon, it seems, we will have another notable
name hailing from Pakistan. Until then enjoy
the soundscape of the astral underground!
Give it a try...no drugs and sugar added: ORION!!!
(I would like to dedicate a few nice words to the
victims of the terrorist attack in Karachi....but alas
none can describe those people's pain...silence
becomes gold)
Ulv
121
ETERNAL DEFORMITY - Frozen
Circus
(self-released, 2007 – Poland)
Avantgenre: Cristalized Submental Dream
Manipulation
Before I start writing how this is a great album, I
would just like to state how much I hate circuses...not
that it has much to do with this great
band and album, but the word circus immediately
reminds me of those poor tortured animals which
are forced to do tricks to amuse people- that is
sadism. Those animals should be free, they should
be loved, and not transported in those small charts
like some deadmeat.
As I said, this above does not reflect my love to the
band. On the contrary from the first minutes this
album was spinning in my CD player I was wondering
how such a great band like this could have
remained unknown to me (and a number of people).
Why is it so that nobody (no label) cares
about great polish bands as Frozen Deformity or
better known Lux Occulta. My new audible friends
are no worse than other rather more known ones. I
interested myself for some earlier releases and
found out that the band's sound today evolved
from some earlier great and atmospheric doom
releases.
"Frozen Circus" starts off with a short but sick
piece of "circus music", it just gives me the chills:
the annoying circus melody becomes very hypnotic,
very weird. The rest of the album is very clearly
produced, the sound is firm and clear, of course
the keyboards stand out quite a lot- that gives a
great balance between the solid riffing and the
weird atmosphere that was achieved. As for the
vocals they range from good clean lines to a magnificent
black a la Vintersorg voice (just an association),
maybe a bit more dim. One of the freakiest
moments of the album is when the track "Crime" is
suddenly interrupted by a circus announcer speaking
the German words: "Meine Damen und Herren,
Herzlich wilkommen in unserem Zirkus, Eternal
Deformity...", the announcer is backed by that
annoying circus organ....I don't know if it's just me
but I feel like screws being driven into my head
when I hear that sound, a great idea it was to
introduce such a sound. I really don't know which
song I could mark as the best on this album, but
the last track, "Lovelorn" is certainly one of the
greatest moments of this album. It seems that with
the chorused guitars and cello, this track unveils
the band's doom background in the best possible
way. I don't want to be misunderstood, the track
itself isn't doom at all but at some moments you

can catch a glimpse of it, just as in the rest of the
album.
Everybody who has ever tried to write a review
must know how difficult it is sometimes to describe
with words that which you can only experience by
your ears. Maybe the best thing is to give a listen
to the album and try to create your own atmosphere
of a frozen circus. This album is just a snapshot
of a circus which is brought back to life for
just a few seconds, but the sounds are so multiple
and intense it seems much longer. just as suddenly
as it has been brought back to life it became frozen
again, and there remained only silence....so one
can imagine that this album actually lasts forever.
"Red finger tips
Red water
Spinning down and deep
To unknown
To cold dark sleep "
GIRE - Gire
(self-released, 2007 – Hungary)
Avantgenre: Deep Journey Into Fall And
Death
Ulv
What I'm holding in my hands right now after a
long wait and six demos is Gire's first, self-titled
album which is definitely deserves some spotlight.
Although being "sunk" in the metal-for-masses
metal scene of Hungary Gire succeeds to reach the
ones with sophisticated taste for the original and
the creative.
The brain of the Gire-system is Tamás Kátai, one of
the most respected people of the Hungarian (underground)
Avantgarde scene. He writes the lyrics,
they are Kátai's poems in fact, he loves the Fall, so
the lyrics are (in Hungarian of course) mostly
about anything which can be connected to Fall in
an impressionist, an expressionist, a symbolic and
of course a decadent way, so it's not just writing
about the yellow and red falling leaves. Frankly, it's
hard to understand the real meaning behind his
lyrics even for a Hungarian. (Kátai also has a
poem-collection printed and sold out.) Every song
has its own story and there are some about culture
and the mankind too. Almost every song provides a
more than five minutes long journey into a gray
and green, rainy day of Fall and in some cases into
shiny, warm but the last days of summer. A couple
of translations of tracks to illustrate it: Green
Shower (Zöld zivatar), Golden Dawn (Aranyhajnal),
Seven Birds (Hét madár), Run of the Deer (Az özek
122
futása). By the way, there is a covered song on the
album called Trans Express originally played by a
forgotten Hungarian band, Necropsia. For "further
feeling" check the video clip of Az özek futása on
youtube.com. By now we know a bit of what it's
about.
The music of Gire characterized by the heavy,
death/thrash metal like guitar playing and the
various ambient sound effects, folkish instruments,
like Jew's harp, violin, tilinkó and kaval (these two
are Central-European wind instruments) and
mainly by the programmed drum machine's sound
which is now the brand mark of Gire, the band is
almost unimaginable without it. On the album one
can find growled, shouted vocals and clean, narrative
like vocals as well.
The album is available only in digipack edition with
the most beautiful cover and artwork I've seen in
my whole life. The booklet is just so amazing (most
of its pictures are taken by Kátai himself) and they
really mirror the feeling of the songs and the whole
album.
In my opinion it's the best album of 2007 till now.
It's really had to be felt, not listened.
revon
SMOHALLA - Smolensk Combustion
(self-released, 2006 – France)
Avantgenre: Ambient Dreamstorming Black
Metal
If bands were only the sum of their influences and
references (not necessarily intentional), then Smohalla
would be among the greatest bands on Earth.
I can easily trace elements from BM/AGM luminaries
as Arcturus (melodies), Emperor (riffs), Ved
Buens Ende (melodies), Ulver (electronics), DHG
(riffs), Maudlin of the Well (emotions), et al, in
Smohallas music, and I could easily leave it at that.
But that would be unfair, wouldn't it? Because,
even if Smohalla turns my mind to mentioned
bands at different points during Smolensk Combustion,
they never ever sound like copycats. I definitely
shouldn't have judged them in reference to
those bands, for Smohalla is above mere reference.
They do what few bands succeed at - they sound
unique. Not just mashing together their ecclectic
influences, as many bands do today trying to get
away as "avant-garde", but creating a sound of
their own. Smohalla sounds like Smohalla, nothing
else. Quite an achievement for a band that didn't
exist before 2006!

Smohalla, led by multi-instrumentalist visionaire
Slo (guitar/vox/drums, aided by bassist Camille
and A.L. responsible for electronics), twists and
turns in some kind of surrealistic dreamland. Highpaced
storming grind with intricate technic riffing
falls into triphoppy ambiences with distant operatic
female vocals and eerie samples, beautiful string
and glockenspeil melodies with epic clean vocals...
There are too many elements to write them all
down, you should hear them yourself. It all sounds
like played behind a curtain of sleepy mists, the
sound is low and at great distance, giving an ambience
similar to Leviathan (US), but cyan and deep
blue and violet instead of pitch black. It takes some
listens to penetrate these veils, but for those percistent
enough awaits sapphires and emeralds of
the most beautiful extreme music released for
quite a while. Smohalla carries a legacy of ephemeral
sweetness in metal that few dare these days.
For the escapist who long for something else.
(Note: the 2nd Smohalla release, 3" cd Nova Persei,
based on the H.P. Lovecraft tale "Beyond The Wall
Of Sleep", will be released this summer through
Vendlus/God Is Myth.)
aVoid
SYMPTOMS - Symptoms That You
Are Alive
(self Released, 2007 – Italy)
Avantgenre: Death-Industrial Dream Metal
It begins beautifully with a strange wisp of a synth
that explodes in a full-bloodied metal harmony,
and then the groove locks in. The vocals and riffing
place this firmly in the extreme metal camp, but it
is the drum machine (which may have benefitted
from a better kit sound), strange feedback noises
and those bizarre synths that truly propel this
beyond into something else. This is way ahead of
the Obituary meets Ministry via Killing Joke stylings
of the debut. It has a strange atmosphere: obviously
apocalyptic yet somehow enchanting, kind of
like post-black death metal without resorting to
any of the cliches of that much flogged dead horse.
Do not get me wrong - the sound is too wholesome
to be black metal. Just the mood is wistful, anthemic
and magical in places. And when it's coupled
with the more typical disjointed death metal
riffing and vocals it just gets unstoppable. Instead
of going for the everything-but-the-kitchen-sinktrick
of most modern bands of this ilk, Symptoms
stay true to a strong songwriting tradition, while
utilizing the avant garde tendencies as hooks to
great effect.
123
The interludes are plain bizarre, going much further
than the standard few samples and beeps, to actually
be complete entities in themselves, with totally
involving atmospherics and intricate rhythyms at
play. There is even a strange gap in the opener
"Dead for 30 Seconds" that I'm still not sure is
intentional.
But the way the dreamy soundscapes are ripped
apart by brutal death metal guitars is strange juxtapositon
and may even be too much for some.
When it all comes together (the afore menitoned
'hooks' of the songs) there's just plain jawdropping:
the choir-synth-guitar /double bass culmination
in "City Lights" or the way the outro of
said song leads right into the harmonic intro of the
manic, driving "Mental Disorder". You really will
drift of to strange places as the album progresses.
There is this truly unique sounding lead (synth or
guitar?) that is overalid over the more traditional
aggro-riffing in a lot of songs that puts the entire
thing into a new perspective.
All in all, this is a welcome additon to a growing
army of new cyber-avant bands that are pushing
the boundaries of metal into inner and outer space.
Do yourself a favour and get it now directly from
the band.
Suleiman
TECHNY-CAL X - Start The Process
(self-released, 2007 – France)
Avantgenre: Dark Dance Metal
Cruising out of France on the wings of technology
and a cold rage, this is a solid effort from the beginning
to the end. By the second song the style of
the band is immediately recognizable. It is a dark,
aggressive and danceable sound, full of atmosphere
and groove. The quality of the material holds
up to repeated listens. The songs have a definite
club friendly feel without catering to the base denominator.
That means it reminds you less of goth
club scene in a Hollywood flick and more of an
actual dance floor full of antagonistic cyborgs.
Thankfully the riff stylings and synth sequences
place them firmly in the Euro scene as opposed to
the post-NIN abominations of America. And the
vocals do that dark, slighlty distorted almost-growl,
filled out with a gothic baritone. Imagine a mix of
darkwave and Exodus era Samael with a hint of
Red Harvest. Electro Metal fans should definitely
give this a try.
It is too short even for an EP, and you just wish
there were more songs here. There are very occa-

sional traces of the cheesiness of Deathstars and
Pain. But they are so sparse that it adds to the vibe.
The EP achieves the (desired) effect in that the
listener wants more. What wonders will the full
length bring? Surely it cannot be an entire CD full
of mid-paced dark dance metal. But if there is
someone capable of pulling it off, it is these guys.
And that is about all I can write based on 3 songs
(and 1 intro).
Suleiman
TRISTWOOD - The Delphic Doctrine
(Sound Riot Records, 2006 – Austria)
Avantgenre: Industrial Death Black Metal
Aaaaah !! Finally!! After reviewing all manners of
insane sound forms that are often at the very edge
of metal, here is one assigned to me that is as
metal as beer, sacrificed virgins and spiked studs.
This here is some seriously brutal atmospheric
death metal. And atmospheric I don’t mean doomy
or slow; I mean reeking of evil darkness. I don’t
have a lyric sheet or a CD sleeve even but somehow
I wouldn't be surprised if the themes were
cosmic, satanic, hermetic or plain murderous (even
a combination of some/all of the above).
It starts with a very short intro and then its blasts
all the way, with a few more similarly short synthy
intros scattered through out.. The riffing and songwriting
is straight forward and lightning fast. The
growls are done in the classic demonic death metal
vein (think Massacre, Septic Flesh and mid-period
Behemoth)with an occasional dashing of a more
mid-ranged rasp (no ultra high pitched shrieking,
than you very much). There is a dark almost cyber
sheen to the material, courtesy of the background
but ever present synths (which occasionally come
forth as per requirement), and the too precise
drumming (is it or is it not a drum machine?), as
well the perfect production.
I know it sounds like a million other bands, but
there is something about the songs that just stick.
The riffing knows where to stand out, without going
into wankery, and the stuff is catchy. There wasn't
a single part where I thought 'I wish they hadn't
done that' and that means its damn near perfect as
a slice of metal brutality. For those into the heavier
end of the spectrum check this shit out. Hail !!!
Suleiman
124
UNHEALTHY DREAMS - Doloris
Corpus
(self-released, 2007 – France)
Avantgenre: Synthetic Industrial Mayhem
Wow!.....no, not "World of warcraft", but a real
"wow!". Before I write anything about the "Body of
pain" (Latin. doloris corpus) one has to be aware
that France started giving us quite a lot of great
and weird bands (the invisible giants- Deathspell
Omega, Smohalla, the growing audible chaos, and
some that yet have to be discovered like Dreams of
the Drowned). Unhealthy Dreams is one of the
most brutal deities of the fast rising scene. The
band creates the pain of modern humanity through
their chaotic music. When you take a look at the
cover of "Doloris Corpus" you can expect somekind
of a chaotic industrial mania, but when you put it
into the stereo, it will just hit you in the face, you
won't see it coming! Why?!
The production is very clear, but nevertheless the
audible mayhem is colossal, ranging from the bass
lines up to every electronic squeak. The tracks tend
to be very fast, but they are often broken apart by
some pure electronical passages, the second track
even features a charming flute. The contrast is
interesting as the electronical parts are sometimes
quite calming, while the rest of the music is very
fast and nervous, one could compare this with a
behavior of a person suddenly struck with waves of
dementia. Just like the instrumental parts the vocals
vary very much, from an ofu-khanish style in
the beginning to a more high pitched black screaming
style. I am not sure if this is my impression but
somehow the album tends to get more and more
electronical as it is closer to it's end. The vicious
and nervous guitars become more steady, but not
softer, don't worry. Electronica and the samples
used on "Wolves torment" is purely great, the track
being filled with distorted beats and raw industrial
samples.
The atmosphere of the whole album is very cold,
razor-sharp and solid. This is an example of a great
industrial production (or destruction) and mastering,
not being too loud so one can absorb all of the
elements, and not being to noisy as Red Harvest
sometimes manages to be. Nevertheless this is one
of the best surprises in the industrialized sphere of
our weird music this year. I hope Unhealthy
Dreams shall get all the attention a promising band
like that disserves. Now I recommend that you get
lost in this swirl of pain you can hear on "Corpus
Doloris".....get lost.......
Ulv

125
1 st Print Edition of
Avantgarde Metal Magazine
23 rd December 2007
Imprint:
Chief editor:
Chrystof Niederwieser
PDF design and layout:
Katja Honeywine van de Barrel
Webmaster:
Bernd Grünwald
Articles written by:
aVoid, Olivier Côté, Jegger, Jobst,
Jonny Lignano, James Slone, Polygon,
Tentakel P., revon, Suleiman Ali,
Trident, Ulv, MvH,
Katja and Chrystof
Contact:
Visit the “about” section of
WWW.AVANTGARDE-METAL.COM
to get in contact with the crew members!